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One-piece combination of shorts and a shirt A woman wearing a romper Baby's romper suit, c.1950s. Museum of Childhood (/wiki/Museum_of_Childhood_(Edinburgh)) , Edinburgh (/wiki/Edinburgh) A romper suit , usually shortened to romper , is a one-piece or two-piece combination of shorts and a shirt. It is also known as a playsuit . Its generally short sleeves and legs contrast with the long ones of the adult jumpsuit (/wiki/Jumpsuit) . History [ edit ] Rompers appeared in the United States in the early 20th century. [1] (#cite_note-1) They were popular as playwear for younger children because people thought they were ideal for movement as they could be so easily morphed between a one-piece and a two-piece. [2] (#cite_note-2) Rompers were in many ways the first modern casual clothes for children. They were light and loose fitting, a major change from the much more restrictive clothing children wore during the 19th-century Victorian era. [3] (#cite_note-3) Styles and conventions varied from country to country. In France they were, for many years, only for boys. [4] (#cite_note-4) While primarily a play garment, some French children wore dressy rompers. [ citation needed ] Their popularity peaked in the 1950s when they were used by children as playwear and by women as leisure—and beachwear. Thereafter the garment has continued to be used by infants (/wiki/Infant) and toddlers (/wiki/Toddler) ; however, it has become less common among older girls (/wiki/Girl) and women (/wiki/Woman) , although never disappearing entirely. Starting in the late 2010s the romper dress, and romper with shorts have returned in fashion to all ages from kids to tween, teen, college and above ages. Adult fashion [ edit ] While rompers had been popular among women in the 1950s, they re-emerged in the 1970s as a fashion for adult women. In the 1970s rompers were usually a casual garment made of terrycloth (/wiki/Terrycloth) , and often in a tube top (/wiki/Tube_top) style. They were common in the 1980s in a wider variety of materials such as silky (/wiki/Silk) fabrics for evening wear. Since 2006, rompers have enjoyed a minor renaissance as a fashionable garment for women. Though much less common, rompers for men have been produced. Several designers have presented [ when? ] collections including romper suits and they are offered by many retailers. Designers include Deborah Sweeney [5] (#cite_note-5) and Juliette Hogan. [6] (#cite_note-6) In the 2010s the "sleep romper" for women gained popularity, being similar in style to the teddy (/wiki/Teddy_(garment)) , but with the appearance of shorts. In 2017, the Male Romper was originally showcased in Milan, Italy. It is a romper for men and is sometimes referred to as a "romphim". [7] (#cite_note-7) See also [ edit ] Infant bodysuit (/wiki/Infant_bodysuit) Infant clothing (/wiki/Infant_clothing) Jumper (dress) (/wiki/Jumper_(dress)) Onesie (/wiki/Onesie_(jumpsuit)) References [ edit ] ^ (#cite_ref-1) "In the shops" (https://timesmachine.nytimes.com/timesmachine/1904/05/20/101392068.pdf) (PDF) . New York Times (/wiki/New_York_Times) . 1904-05-20 . Retrieved 2014-04-13 . ^ (#cite_ref-2) "Play Togs for Little Folks" (https://news.google.com/newspapers?id=Xh8NAAAAIBAJ&sjid=TGYDAAAAIBAJ&pg=5531,3692885) . The Gazette Times (/wiki/The_Gazette_Times) . 1912-06-01. ^ (#cite_ref-3) "Boys Rompers" (http://histclo.com/style/casual/romper.html) . HistClo.com . Retrieved 2014-04-13 . ^ (#cite_ref-4) "French Rompers" (http://histclo.com/Style/casual/romperfr.html) . HistClo.com . Retrieved 2012-07-31 . ^ (#cite_ref-5) "Deborah Sweeney" (https://web.archive.org/web/20080616213645/http://www.fashionz.co.nz/deborahsweeney/) . FashioNZ . Archived from the original (http://www.fashionz.co.nz/deborahsweeney/) on 2008-06-16. ^ (#cite_ref-6) "Famous Swimwear Designers at NY Fashion Week" (https://web.archive.org/web/20150211225702/http://swimwearstyleguide.com/famous-swimwear-designers-ny-fashion-week/) . SwimwearStyleGuide.com . Archived from the original (http://swimwearstyleguide.com/famous-swimwear-designers-ny-fashion-week/) on 2015-02-11 . Retrieved 2015-02-11 . ^ (#cite_ref-7) Podnar, Rachel (2017-05-16). "Trending: RompHim crowdfunds more than $85K; Insta keeps moving in on Snapchat" (https://www.washingtonpost.com/express/wp/2017/05/16/trending-romphim-crowdfunds-more-than-85k-insta-keeps-moving-in-on-snapchat/) . Washington Post (/wiki/Washington_Post) . Archived (https://web.archive.org/web/20170520154434/https://www.washingtonpost.com/express/wp/2017/05/16/trending-romphim-crowdfunds-more-than-85k-insta-keeps-moving-in-on-snapchat/) from the original on 2017-05-20 . Retrieved 2017-05-20 . External links [ edit ] Fashion portal (/wiki/Portal:Fashion) "Romper boom: I see Anna, and Blake, and Dita..." 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Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Romper_suit&oldid=1217906015 (https://en.wikipedia.org/w/index.php?title=Romper_suit&oldid=1217906015) " Categories (/wiki/Help:Category) : Children's clothing (/wiki/Category:Children%27s_clothing) One-piece suits (/wiki/Category:One-piece_suits) Infants' clothing (/wiki/Category:Infants%27_clothing) 20th-century fashion (/wiki/Category:20th-century_fashion) 21st-century fashion (/wiki/Category:21st-century_fashion) Hidden categories: Articles with short description (/wiki/Category:Articles_with_short_description) Short description is different from Wikidata (/wiki/Category:Short_description_is_different_from_Wikidata) All articles with unsourced statements (/wiki/Category:All_articles_with_unsourced_statements) Articles with unsourced statements from June 2017 (/wiki/Category:Articles_with_unsourced_statements_from_June_2017) All articles with vague or ambiguous time (/wiki/Category:All_articles_with_vague_or_ambiguous_time) Vague or ambiguous time from May 2016 (/wiki/Category:Vague_or_ambiguous_time_from_May_2016) |
This biography of a living person (/wiki/Wikipedia:Biographies_of_living_persons) needs additional citations (/wiki/Wikipedia:Citing_sources) for verification (/wiki/Wikipedia:Verifiability) . Please help by adding reliable sources (/wiki/Wikipedia:Reliable_sources) . Contentious material (/wiki/Wikipedia:BLPREMOVE) about living persons that is unsourced or poorly sourced (/wiki/Wikipedia:QUESTIONABLE) must be removed immediately from the article and its talk page, especially if potentially libelous (/wiki/Wikipedia:Libel) . Find sources: "Julia Alexandratou" (https://www.google.com/search?as_eq=wikipedia&q=%22Julia+Alexandratou%22) – news (https://www.google.com/search?tbm=nws&q=%22Julia+Alexandratou%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Julia+Alexandratou%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Julia+Alexandratou%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Julia+Alexandratou%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Julia+Alexandratou%22&acc=on&wc=on) ( July 2010 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Julia Alexandratou Τζούλια Αλεξανδράτου Born ( 1985-11-24 ) 24 November 1985 (age 38) Glyfada, Attica (/wiki/Glyfada,_Attica) , Greece Occupation(s) Glamour model (/wiki/Glamour_model) , singer, actress, pornographic actress Height 5 ft 10 in (1.78 m) Beauty pageant (/wiki/Beauty_pageant) titleholder Title B Star Hellas (/wiki/Miss_Star_Hellas) 2006 Miss Young 2002 Miss Greece International (/wiki/Miss_Star_Hellas) 2006 Hair color Platinum blond Eye color Blue Musical career Genres Pop, dance-pop (/wiki/Dance-pop) , club (/wiki/Club_music) Musical artist Julia Alexandratou ( Greek (/wiki/Greek_language) : Τζούλια Αλεξανδράτου ) is a Greek socialite, media personality, glamour model, singer, actress, and pornographic actress. In 2002, at age 16, she won the beauty pageant title "Miss Young" in Greece. Four years later, Alexandratou won the title "Miss Greece International 2006" (also called the "Runner-up Star Hellas 2006") at the Miss Star Hellas (/wiki/Miss_Star_Hellas) beauty pageant. [1] (#cite_note-1) In 2010, a controversial celebrity sex tape (/wiki/Celebrity_sex_tape) featuring Alexandratou was released. She later admitted that she was paid for her participation in the film. In 2011, Alexandratou attracted controversy again, after the release of a second pornographic video. Biography Childhood Alexandratou was born on 24 November 1985, to a father who hails from Kefalonia (/wiki/Kefalonia) , named Zissimos Alexandratos and a mother who hails from London, England, named Allison Hunt-Alexandratou. Her father is a mechanical engineer, while her mother is a former fashion model. She also has a sister three years her senior, Artemis Alexandratou (/wiki/Artemis_Alexandratou) . From a very young age, along with her mother, she modeled in numerous magazines and children's fashion advertisements. [ citation needed ] She has modeled since the age of four and has also participated and won in a lot of beauty pageants. At age seven, she enrolled in ballet lessons, and later on in vocal and acting training, where she is said to have exhibited great potential. In 2002, at the age of 16, Alexandratou entered the "Miss Young" beauty pageant where she won first place. [2] (#cite_note-2) Following family problems, Alexandratou lived in London with her mother for a couple of years. After these times, she pulled back from her artistic training. As a result of living in London as well as her mother's origin, Alexandratou is fluent in the English language. Career 2006–2009: modeling, hosting, and music In 2006, Alexandratou participated in the 17th edition of the annual Miss Star Hellas (/wiki/Miss_Star_Hellas) beauty pageant which took place on 9 April 2006 (semi-final) and 11 April 2006 (final). Alexandratou failed to take first place in the pageant, while her negative facial reaction to the results on screen, were ridiculed by the media. She made her first appearance after the competition on a live show of the Greek reality show Fame Story (/wiki/Fame_Story) 4, and was a guest singer on the Greek song, "Mono Ya Sena" (Only For You) with Fame Story (/wiki/Fame_Story) 3 contestant Andreas Constantinidis. The duet was featured as the first single on his debut album, while they also filmed a music video together for the song. A few months later, Alexandratou became a co-host to the hit Greek TV show Megalicious Chart Live! , alongside MAD TV (/wiki/MAD_TV_(Greece)) presenter Themis Georgandas. During that period, she made many television appearances, and in the course of one year, appeared on over 10 magazine covers, including magazines such as Vogue , Nitro , Diva and Celebrity . Her subsequent fame led to her hosting a TV show called Music Bee , along with her friend Stathis Etiatoglou. The show debuted to high expectations, with a format focusing on music news in Greece and abroad. However, ratings of the show soon dropped. In 2007, she released two singles with Sony Music Entertainment (/wiki/Sony_Music_Entertainment) Greece titled I Vassilissa tis Pistas (The Queen of the Dance Floor) and Stohos Ine ta Lefta (The Target Is Money), respectively. That same year, Alexandratou made her film debut in a Greek comedy directed by Nikos Perakis (/wiki/Nikos_Perakis) , playing the role of a singer named Areti. Stohos Ine ta Lefta served as the theme song to the film. In April 2008, Alexandratou posed on the cover of Nitro magazine, assuming the role of Marilyn Monroe (/wiki/Marilyn_Monroe) . She was voted by readers of the magazine as the best choice to perform the special edition spread. In the autumn of the same year, she started performing in her first concert appearances at an Athenian nightclub alongside Greek singer Panos Kalidis. In late 2008, she released her single Honolulu , which is a cover of a song written by Nikos Karvelas (/wiki/Nikos_Karvelas) . Karvelas later expressed outrage that the song was covered without his consent. 2010–present: pornographic videos On 3 March 2010, a DVD depicting Alexandratou having sex with a then-unidentified male began being sold in many spots around Greece. The man's face can't be seen throughout the entire video and for a period after the DVD's release there was an unconfirmed rumor that the man is pornographic actor Ian Scott (/wiki/Ian_Scott_(actor)) . [3] (#cite_note-protothema1-3) When first asked by reporters about this video, Alexandratou and her manager, Menios Fourthiotis, stated that this was the first time they heard about it and that they thought that it was a joke or a blackmail attempt. [ citation needed ] Nevertheless, the owner of Sirina Entertainment (the company which distributed the DVD), Dimitris Sirinakis (/wiki/Dimitris_Sirinakis) , stated: "I can't reveal how or from whom I got the sex tape, but I can assure you that it was obtained legally." [4] (#cite_note-4) A day after its release, over 200,000 copies of the DVD were said to have been sold. [3] (#cite_note-protothema1-3) Shortly after the DVD's release, Alexandratou appeared on one of Star Channel (/wiki/Star_Channel_(Greece)) 's newscasts, on which she claimed that the pornographic video was filmed exclusively for personal use and she also stated, without revealing the unidentified man's real identity, that his first name was Giorgos and that it was him who leaked the video, to harm her public image. On 17 March 2010, Alexandratou appeared on Greek host Tatiana Stefanidou (/wiki/Tatiana_Stefanidou) 's TV show Axizi na to Dis , on which she admitted that she was paid in advance for her participation in the video, [5] (#cite_note-5) [6] (#cite_note-6) [7] (#cite_note-7) thus confirming that it is a professional pornographic video and not an amateur one. The DVD sold over 100,000 copies at news stands (/wiki/News_stands) . [8] (#cite_note-dvd2a-8) The rumor that the unidentified man is Scott was confirmed by Scott himself, who appeared on the episode of Greek host Themos Anastassiadis's TV show Ola 10 aired on 3 May 2010, on which he admitted that he was Alexandratou's sex partner in the video. [ citation needed ] On 15 May 2010, Alexandratou, Scott and Fourthiotis appeared together at the "Athens Erotica" adult entertainment show, held in Athens, where Alexandratou and Scott publicly kissed each other. [ citation needed ] On 29 November 2010, Alexandratou began hosting a once weekly show on local Athenian television (/wiki/Television_in_Greece#Local_Stations) station Extra 3 . [9] (#cite_note-9) On 4 February 2011, a second DVD produced by Sirina Entertainment was released in Greece with Alexandratou starring along with two male black pornographic actors. [8] (#cite_note-dvd2a-8) [10] (#cite_note-10) The DVD is considered a sequel of the first video, since it is titled Julia 2 Mavri (Julia 2 Blacks). [8] (#cite_note-dvd2a-8) In the adult film, Julia appears to walk naked in the streets of Voula (/wiki/Voula) seeking for love, which she eventually finds. [11] (#cite_note-dvd3a-11) The scenes feature explicit sexual acts, in the form of hardcore pornography. [11] (#cite_note-dvd3a-11) Personal life Alexandratou claimed to be in a relationship with famous Greek star-manager and celebrity Elias Psinakis, the ex-manager of Greek singer Sakis Rouvas (/wiki/Sakis_Rouvas) . The two were introduced in the spring of 2006 after the pageant. Psinakis was one of the judges on the Greek reality show Dream Show , where her sister Artemis was a contestant. In January 2007, Psinakis posed on the cover of an issue of the Greek magazine Trypaki . Julia conducted an interview for this issue, in which they both announced their relationship. In late 2009, she bought a house in Ekali (/wiki/Ekali) , a suburb of Athens. Discography Singles Mono Gia Sena (duet with Andreas Konstantinidis) (2006) I Vassilissa tis Pistas (2007) Stohos Ine ta Lefta (2007) Honolulu (2008) Music videos Mono Gia Sena (2006) I Vassilissa tis Pistas (2007) Psychremia: Main Theme (2007) Stohos Ine ta Lefta (2007) Honolulu (2008) Filmography Film Year Title Role Notes Ref. 2007 Cool (https://el.wikipedia.org/wiki/%CE%A8%CF%85%CF%87%CF%81%CE%B1%CE%B9%CE%BC%CE%AF%CE%B1_(%CF%84%CE%B1%CE%B9%CE%BD%CE%AF%CE%B1,_2007)) Areti Olsen Film debut 2010 Julia Alexandratou: The Forbidden Herself Adult film debut 2011 The Pontians: New Generation Agnes 2011 Julia 2 Black Herself Adult film 2011 Greek Male Casting: Searching for a new star Herself Adult film 2012 Julia is back: Doctor's casting Herself Adult film Television Year Title Role(s) Notes 2002 National Annual Beauty Pageant of Greece (/wiki/Star_Hellas) Herself (contestant) Miss Young '02 2006 National Annual Beauty Pageant of Greece (/wiki/Star_Hellas) Herself (contestant) Substitute Star Hellas '06 Fame Story 4 (/wiki/Fame_Story) Herself (performance) Live 9; season 4 Megalicious Chart Live Herself (co-host) Sunday talk show on Mega Channel (/wiki/Mega_Channel) Music Bee Herself (host) Saturday talk show on ANT1 (/wiki/ANT1) 2007 Greece's Got Talent (/wiki/Ellada_Eheis_Talento) Herself (guest) Season 1 (/wiki/Ellada_Eheis_Talento_season_1) TV Stars: Let's present yourself Herself (guest) Live 11 2010-2011 With Julia Herself (host) Late night talk show on EXTRA 3 2019 Miss Europe Beauty Contest (/wiki/Miss_Europe_2019) Herself (contestant) 1st Runner-up Music videos Year Music video Artist Notes 2006 "Only For You" Herself & Andreas Konstantinou Music debut 2007 "The Queen of the Dance Floor" Herself "The Target Is Money" Herself 2008 "Honolulu" Herself 2016 "Only Love" Herself & Agapi Mono "My Crazy Face" Herself & Agapi Mono Photoshoots for magazines Nitro Miss Diva Miss Lux Esquire Playboy Hello! Vogue References ^ (#cite_ref-1) "Biography for Julia Alexandratou" (https://www.imdb.com/name/nm2636961/bio) . IMDb . Retrieved 15 September 2013 . ^ (#cite_ref-2) "Julia Alexandratou Profile on FMD – Julia Alexandratou pictures / images" (http://www.fashionmodeldirectory.com/models/Julia_Alexandratou/) . Fashionmodeldirectory.com . Retrieved 26 July 2010 . ^ Jump up to: a b "Πρώτο ΘΕΜΑ online : To πορνό της Τζούλιας σε αριθμούς – Life Style – Gossip" (http://www.protothema.gr/life-style/gossip/article/?aid=62578) . Protothema.gr . Retrieved 26 July 2010 . ^ (#cite_ref-4) "Σάλος με το ροζ βίντεο της Τζούλιας | CoverStory" (https://web.archive.org/web/20100308094419/http://www.espressonews.gr/default.asp?pid=79&la=2&artid=1157637&catID=16) . Espressonews.gr. Archived from the original (https://www.espressonews.gr/default.asp?pid=79&la=2&artid=1157637&catID=16) on 8 March 2010 . Retrieved 26 July 2010 . ^ (#cite_ref-5) Τζούλια: Γύρισα το καυτό DVD γιατί ήταν πολλά τα λεφτά! Archived (https://web.archive.org/web/20100322190143/http://www.newsit.gr/default.php?pname=Article&art_id=18585&catid=10) 22 March 2010 at the Wayback Machine (/wiki/Wayback_Machine) newsit.gr (Greek) ^ (#cite_ref-6) Η Τζουλια στην Τατιάνα στο αξίζει να το δεις σήμερα . news24gr (Greek) ^ (#cite_ref-7) Τζούλια Αλεξανδράτου στο "Αξίζει να το Δεις": Αποκαλύψεις σοκ . (http://www.madata.gr/diafora/media/56031.html) .madata.gr (Greek) ^ Jump up to: a b c "Το νέο πορνο-DVD της Τζούλιας" (https://web.archive.org/web/20110206132403/http://www.star.gr/life_style/79169/) (in Greek). Star Channel (/wiki/Star_Channel_(Greece)) . 4 February 2011. Archived from the original (http://www.star.gr/life_style/79169/) on 6 February 2011 . Retrieved 4 February 2011 . ^ (#cite_ref-9) Το ντεμπούτο της Τζούλιας Αλεξανδράτου (in Greek). Star Channel (/wiki/Star_Channel_(Greece)) . 30 November 2010. Archived from the original (http://www.star.gr/life_style/70721/) on 1 December 2010 . Retrieved 30 November 2010 . ^ (#cite_ref-10) "Στα περίπτερα το dvd "Τζούλια 2 Μαύροι" (http://www.imerisia.gr/article.asp?catid=12333&subid=2&pubid=95755158) " (http://www.imerisia.gr/article.asp?catid=12333&subid=2&pubid=95755158) (in Greek). Imerisia.gr. 4 February 2011 . Retrieved 4 February 2011 . ^ Jump up to: a b "Τζούλια Αλεξανδράτου σε νέο πορνό – dvd" (http://www.madata.gr/diafora/showbiz/90122.html) (in Greek). madata.gr. 4 February 2011 . Retrieved 4 February 2011 . External links Wikimedia Commons has media related to Julia Alexandratou . Greece portal (/wiki/Portal:Greece) Biography portal (/wiki/Portal:Biography) Fashion portal (/wiki/Portal:Fashion) Erotica and pornography portal (/wiki/Portal:Erotica_and_pornography) Julia Alexandratou (https://www.fashionmodeldirectory.com/models/julia_alexandratou/) at Fashion Model Directory (/wiki/Fashion_Model_Directory) Julia Alexandratou (https://www.imdb.com/name/nm2636961/) at IMDb (/wiki/IMDb_(identifier)) Julia Alexandratou (https://www.egafd.com/actresses/details.php/id/j00880) at the European Girls Adult Film Database Julia Alexandratou (https://www.allmusic.com/artist/p1075933) at AllMusic (/wiki/AllMusic_(identifier)) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐xkhcj Cached time: 20240720173947 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.663 seconds Real time usage: 0.911 seconds Preprocessor visited node count: 4136/1000000 Post‐expand include size: 53740/2097152 bytes Template argument size: 6211/2097152 bytes Highest expansion depth: 13/100 Expensive parser function count: 11/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 42459/5000000 bytes Lua time usage: 0.468/10.000 seconds Lua memory usage: 20709034/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 859.851 1 -total 34.63% 297.737 1 Template:Infobox_pageant_titleholder 16.96% 145.848 1 Template:Reflist 13.86% 119.198 8 Template:Cite_web 10.63% 91.387 1 Template:Lang-el 10.56% 90.780 1 Template:Infobox_musical_artist 7.90% 67.921 1 Template:BLP_sources 7.53% 64.721 1 Template:Ambox 6.98% 60.025 1 Template:Short_description 6.62% 56.940 2 Template:Infobox Saved in parser cache with key enwiki:pcache:idhash:5122340-0!canonical and timestamp 20240720173947 and revision id 1231107864. Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Julia_Alexandratou&oldid=1231107864 (https://en.wikipedia.org/w/index.php?title=Julia_Alexandratou&oldid=1231107864) " Categories (/wiki/Help:Category) : 1986 births (/wiki/Category:1986_births) Living people (/wiki/Category:Living_people) Greek beauty pageant winners (/wiki/Category:Greek_beauty_pageant_winners) Greek female models (/wiki/Category:Greek_female_models) 21st-century Greek women singers (/wiki/Category:21st-century_Greek_women_singers) Greek pop singers (/wiki/Category:Greek_pop_singers) Greek people of English descent (/wiki/Category:Greek_people_of_English_descent) People from Athens (/wiki/Category:People_from_Athens) Hidden categories: Webarchive template wayback links (/wiki/Category:Webarchive_template_wayback_links) CS1 Greek-language sources (el) (/wiki/Category:CS1_Greek-language_sources_(el)) CS1 uses Greek-language script (el) (/wiki/Category:CS1_uses_Greek-language_script_(el)) Use dmy dates from January 2020 (/wiki/Category:Use_dmy_dates_from_January_2020) BLP articles lacking sources from July 2010 (/wiki/Category:BLP_articles_lacking_sources_from_July_2010) All BLP articles lacking sources (/wiki/Category:All_BLP_articles_lacking_sources) Wikipedia indefinitely semi-protected biographies of living people (/wiki/Category:Wikipedia_indefinitely_semi-protected_biographies_of_living_people) Articles with short description (/wiki/Category:Articles_with_short_description) Short description is different from Wikidata (/wiki/Category:Short_description_is_different_from_Wikidata) Articles with hCards (/wiki/Category:Articles_with_hCards) No local image but image on Wikidata (/wiki/Category:No_local_image_but_image_on_Wikidata) Articles containing Greek-language text (/wiki/Category:Articles_containing_Greek-language_text) All articles with unsourced statements (/wiki/Category:All_articles_with_unsourced_statements) Articles with unsourced statements from May 2023 (/wiki/Category:Articles_with_unsourced_statements_from_May_2023) Articles with unsourced statements from August 2010 (/wiki/Category:Articles_with_unsourced_statements_from_August_2010) Pages using Sister project links with wikidata namespace mismatch (/wiki/Category:Pages_using_Sister_project_links_with_wikidata_namespace_mismatch) Articles using Template:EGAFD actress (/wiki/Category:Articles_using_Template:EGAFD_actress) |
This article needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Syms_Corporation) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed. Find sources: "Syms Corporation" (https://www.google.com/search?as_eq=wikipedia&q=%22Syms+Corporation%22) – news (https://www.google.com/search?tbm=nws&q=%22Syms+Corporation%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Syms+Corporation%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Syms+Corporation%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Syms+Corporation%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Syms+Corporation%22&acc=on&wc=on) ( January 2017 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Syms Corporation Company type Defunct Industry Retail Founded 1958 (66 years ago) ( 1958 ) New York City (/wiki/New_York_City) Founder Sy Syms (/wiki/Sy_Syms) Defunct 2011 (13 years ago) ( 2011 ) Fate Chapter 11 bankruptcy protection (/wiki/Chapter_11,_Title_11,_United_States_Code) , followed by closure Headquarters Secaucus, New Jersey (/wiki/Secaucus,_New_Jersey) , United States Number of locations 55 Syms and Filene's Basement (/wiki/Filene%27s_Basement) [1] (#cite_note-1) Key people Sy Syms (/wiki/Sy_Syms) Marcy Syms Products Clothing Subsidiaries (/wiki/Subsidiary) Filene's Basement (/wiki/Filene%27s_Basement) (acquired in 2009) Syms Corp (styled as SYMS) was an off-price (/wiki/Off-price) retail clothing store chain, founded by Sy Syms (/wiki/Sy_Syms) in 1958. Its headquarters was in Secaucus, New Jersey (/wiki/Secaucus,_New_Jersey) , where it became a public company (/wiki/Public_company) , traded on the New York Stock Exchange (/wiki/New_York_Stock_Exchange) (SYM) in 1983. The company also owned Filene's Basement (/wiki/Filene%27s_Basement) , which it acquired in June 2009. At its height, the company and its subsidiary collectively owned and operated a chain of 55 "off-price" retail stores in 16 states; the company employed approximately 3,800 full and part-time workers. Each SYMS and Filene's Basement store offered a broad range of merchandise from nationally recognized designer or brand-name labels for men, women, and children. [ citation needed ] On November 2, 2011, SYMS and Filene's Basement collectively filed for Chapter 11 bankruptcy protection (/wiki/Chapter_11,_Title_11,_United_States_Code) . All SYMS and Filene's Basement stores were closed at the end of December 2011. [ citation needed ] History [ edit ] In 1958, after a dispute with his brother over the clothing store they had inherited from their father, then Seymour Merns left to open a rival men's clothing store on Cortlandt Street in New York City's Financial District (/wiki/Financial_District,_Manhattan) . The store, which was initially named Sy Merns, competed directly with his family's original store on Vesey Street. However, he was forced to shorten the store's name to SYMS after legal action was taken against him by his brother. Merns later had his name legally changed to Sy Syms to match the store. [2] (#cite_note-:0-2) The company slowly expanded during the 1960s and 1970s. The company aired its first television commercial (/wiki/Television_commercial) in 1974. [2] (#cite_note-:0-2) In the commercial, SYMS debuted the company's slogan, "An educated consumer is our best customer." The slogan was used by SYMS until its close in 2011. By 1983, Syms had taken the company public with an initial public offering (/wiki/Initial_public_offering) , netting himself about $25 million in the process, and expanded the chain to include eleven retail (/wiki/Retail) locations. [3] (#cite_note-:1-3) The company continued to expand throughout the 1980s and 90s, at its height peaking at forty-eight locations. [4] (#cite_note-4) In 1998, Sy's daughter Marcy Syms was named chief executive officer (/wiki/Chief_executive_officer) , though Sy remained as chairman of the board and continued to come to work every day. [3] (#cite_note-:1-3) The early 21st century presented tough times for SYMS, with its first loss in its history in 2000, followed up by three more consecutive years of losses between 2001 and 2004. [3] (#cite_note-:1-3) In 2009, the company acquired the bankrupt Filene's Basement low-cost chain for $62.4 million. [5] (#cite_note-5) But the acquisition could not help the struggling company succeed in a poor economy and faced with increased competition from large department stores. [6] (#cite_note-nydailynews.com-6) On November 2, 2011, SYMS and Filene's Basement collectively filed for Chapter 11 bankruptcy protection (/wiki/Chapter_11,_Title_11,_United_States_Code) , with all stores to close by the end of the year. The combined companies had 46 locations and employed some 2,500 workers. [6] (#cite_note-nydailynews.com-6) Company leadership [ edit ] Sy Syms [ edit ] Main article: Sy Syms (/wiki/Sy_Syms) Sy Syms (1926–2009), [7] (#cite_note-7) who was born Seymour Merinsky, was a former sports broadcaster and regularly appeared in the company's television and radio commercials. He is also credited with coining the company's slogan, "An Educated Consumer is our Best Customer". Syms was founder of the company and remained chairman of the board until his death in November 2009. His daughter, Marcy Syms, succeeded him as chair in January 2010. [ citation needed ] Marcy Syms [ edit ] Marcy Syms joined the family business in 1978 as director of marketing and real estate. In 1983, when SYMS Corp went public, she was named president and a year later, added the role of chief operating officer (/wiki/Chief_operating_officer) . In 1998, she was named chief executive officer (/wiki/Chief_executive_officer) , and in 2009, she led the company through the purchase of Filene's Basement (/wiki/Filene%27s_Basement) . She also steered the company through the closing and liquidation process, and eventual transition to new management (Trinity Place Holdings, Inc.). Since the closing of SYMS Corp and her departure, Marcy Syms remains an active philanthropist who has continued to facilitate raising the level of awareness for public television (/wiki/Public_television) and the programing challenges it faces by diminished funding. In addition, she is the president of the Sy Syms Foundation and an original trustee of the board of overseers at the Sy Syms School of Business (/wiki/Sy_Syms_School_of_Business) . [ citation needed ] See also [ edit ] Companies portal (/wiki/Portal:Companies) Fashion portal (/wiki/Portal:Fashion) New Jersey portal (/wiki/Portal:New_Jersey) List of defunct retailers of the United States (/wiki/List_of_defunct_retailers_of_the_United_States) References [ edit ] ^ (#cite_ref-1) 2011 10-K Form for Syms Corp. (http://www.syms.com/wp-content/uploads/2011/05/10K2-26-2011.pdf) ^ Jump up to: a b "Founder of SYMS discount clothing store dies" (https://web.archive.org/web/20091119144219/http://www.sfgate.com/cgi-bin/article.cgi?f=%2Fn%2Fa%2F2009%2F11%2F17%2Ffinancial%2Ff145445S20.DTL) . San Francisco Chronicle (/wiki/San_Francisco_Chronicle) . 2009-11-17. Archived from the original (http://www.sfgate.com/cgi-bin/article.cgi?f=/n/a/2009/11/17/financial/f145445S20.DTL&type=business) on November 19, 2009. ^ Jump up to: a b c "Syms Corporation Company Profile, Information, Business Description, History, Background Information on Syms Corporation" (http://www.referenceforbusiness.com/history/St-Th/Syms-Corporation.html) . www.referenceforbusiness.com . Retrieved 2017-01-15 . ^ (#cite_ref-4) Duhigg, Charles (2009-11-17). "Sy Syms, Founder of Discount Chain, Dies at 83" (https://www.nytimes.com/2009/11/18/business/18syms.html) . The New York Times . ISSN (/wiki/ISSN_(identifier)) 0362-4331 (https://www.worldcat.org/issn/0362-4331) . Retrieved 2017-01-15 . ^ (#cite_ref-5) "Syms Corp. Cleared To Reorganize As Real Estate Co. - Law360" (https://www.law360.com/articles/373984/syms-corp-cleared-to-reorganize-as-real-estate-co) . www.law360.com . Retrieved 2017-01-16 . ^ Jump up to: a b Fleming, Ashley; Dominguez, Robert (2011-11-02). "Syms and Filene's Basement file for bankruptcy and will close all stores by January" (https://web.archive.org/web/20180131140923/http://www.nydailynews.com/news/money/discount-retailers-syms-filene-basement-file-bankruptcy-close-stores-january-article-1.971141) . NY Daily News . Archived from the original (http://www.nydailynews.com/news/money/discount-retailers-syms-filene-basement-file-bankruptcy-close-stores-january-article-1.971141) on 2018-01-31 . Retrieved 2017-01-16 . ^ (#cite_ref-7) "Sy Syms, founder of SYMS Corp, Dies at Age 83" (https://web.archive.org/web/20100910112102/https://www.prnewswire.com/news-releases/sy-syms-founder-of-syms-corp-dies-at-age-83-70407382.html) . PR Newswire (Press release). Archived from the original (http://www.prnewswire.com/news-releases/sy-syms-founder-of-syms-corp-dies-at-age-83-70407382.html) on 2010-09-10. 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The Hyde Grammar School netball team, 1949, wearing gymslips (Manchester, England). Navy woolen pinafore dress with velvet yoke, worn by students of Dunfermline College of Physical Education c. 1910–1920. A gymslip is a sleeveless tunic (/wiki/Tunic) with a pleated skirt most commonly seen as part of a school uniform (/wiki/School_uniform) for girls. The term "gymslip" primarily refers to the school uniform; otherwise the term pinafore dress (/wiki/Pinafore_dress) (British English) or jumper dress (American English) is usually preferred. The introduction of the gymslip as female athletic wear is credited to Mary Tait, a student of Martina Bergman-Österberg (/wiki/Martina_Bergman-%C3%96sterberg) , a pioneer of women's physical education (/wiki/Physical_education) in Britain. [1] (#cite_note-1) Gymslips were worn by gymnasts (/wiki/Gymnast) and track and field (/wiki/Track_and_field) athletes from the 1880s to the 1920s, as they were more mobile than traditional female attire, but still modest enough to keep the underwear hidden during sporting activity. Even in this modest attire, gymslips as athletic wear were still worn strictly out of public view. [2] (#cite_note-2) [3] (#cite_note-3) When not worn as athletic wear, gymslips or pinafore dresses are generally worn over a blouse (/wiki/Blouse) and replace a skirt (/wiki/Skirt) . A blazer (/wiki/Blazer) may be worn over the top, or gym knickers underneath. First emerging in the 1900s, by the 1920s it had become compulsory in many private, convent (/wiki/Convent_school#Catholic_tradition) and high schools (/wiki/High_school) , and thus became commonly worn by girls as part of their school uniform, [4] (#cite_note-4) together with a blouse (/wiki/Blouse) . [5] (#cite_note-5) Although now largely replaced by modern-style uniforms, gymslips are still synonymous in Britain with schoolgirls, leading to the slang term "gymslip mum" to describe a teenage pregnancy (/wiki/Teenage_pregnancy) . [6] (#cite_note-6) Well-known modern depictions of gymslips include the St Trinian's (/wiki/St_Trinian%27s) films, and less traditionally, schoolgirl uniform pornography (/wiki/Uniform_fetishism) , a use given more public recognition when in 1991 politician Clare Short (/wiki/Clare_Short) condemned the fetish, saying that "the Page 3 girl (/wiki/Page_Three) in a gymslip may be over 16, but the imagery is clearly intended to present schoolgirls as sexual objects". [7] (#cite_note-7) See also [ edit ] Sports portal (/wiki/Portal:Sports) Fashion portal (/wiki/Portal:Fashion) Apron (/wiki/Apron) Rational dress (/wiki/Rational_dress) References [ edit ] ^ (#cite_ref-1) Aldrich, Richard (1998), "Teacher training in London", in Floud, Roderick; Glynn, Sean, London Higher: The Establishment of Higher Education in London (3rd ed.), Continuum International Publishing Group, ISBN (/wiki/ISBN_(identifier)) 0-485-11524-7 (/wiki/Special:BookSources/0-485-11524-7) , p. 233 ^ (#cite_ref-2) Craik, Jennifer (August 6, 2005). Uniforms Exposed . Berg Publishers. p. 153. ISBN (/wiki/ISBN_(identifier)) 978-1-85973-898-6 . ^ (#cite_ref-3) Hargreaves, Jennifer (December 1, 2001). The Victorian cult of the family and the early years of female sport, published in Gender and Sport . Routledge. p. 58. ISBN (/wiki/ISBN_(identifier)) 978-0-415-25953-8 . ^ (#cite_ref-4) McKelvey, Kathryn (May 1, 2006). Fashion Source Book . Blackwell Publishing (/wiki/Blackwell_Publishing) . p. 188 (https://archive.org/details/fashionsourceboo0002mcke/page/188) . ISBN (/wiki/ISBN_(identifier)) 978-1-4051-2693-9 . ^ (#cite_ref-5) "School uniforms in the UK" (https://web.archive.org/web/20161021151611/http://www.album1900.com/uk/0005_ukschooluniform/0005_ukschooluniforms_girls.php) . Album 1900. Archived from the original (http://www.album1900.com/uk/0005_ukschooluniform/0005_ukschooluniforms_girls.php) on 21 October 2016 . Retrieved 3 September 2016 . ^ (#cite_ref-6) Francome, Colin (March 1, 2004). Abortion in the USA and the UK . Ashgate Publishing. p. 45 (https://archive.org/details/abortioninusauk0000fran/page/45) . ISBN (/wiki/ISBN_(identifier)) 978-0-7546-3015-9 . ^ (#cite_ref-7) Short, Clare (April 1991). Dear Clare...This Is What Women Feel About Page 3 . Radius. ISBN (/wiki/ISBN_(identifier)) 978-0-09-174915-6 . v t e Clothing (/wiki/Clothing) History (/wiki/History_of_clothing_and_textiles) Industry (/wiki/Clothing_industry) Technology (/wiki/Clothing_technology) Terminology (/wiki/Clothing_terminology) Timeline (/wiki/Timeline_of_clothing_and_textiles_technology) Headwear (/wiki/Headgear) Beret (/wiki/Beret) Cap (/wiki/Cap) baseball (/wiki/Baseball_cap) flat (/wiki/Flat_cap) knit (/wiki/Knit_cap) Hat (/wiki/Hat) boater (/wiki/Boater) bowler (/wiki/Bowler_hat) fedora (/wiki/Fedora) homburg (/wiki/Homburg_hat) top (/wiki/Top_hat) Helmet (/wiki/Helmet) Hood (/wiki/Hood_(headgear)) Kerchief (/wiki/Kerchief) Mask (/wiki/Mask) Turban (/wiki/Turban) Veil (/wiki/Veil) Neckwear (/wiki/Neckwear) Bands (/wiki/Bands_(neckwear)) Choker (/wiki/Choker) Clerical collar (/wiki/Clerical_collar) Lavallière (/wiki/Pussy_bow) Neckerchief (/wiki/Neckerchief) Neck gaiter (/wiki/Neck_gaiter) Necktie (/wiki/Necktie) ascot (/wiki/Ascot_tie) bolo (/wiki/Bolo_tie) bow (/wiki/Bow_tie) kipper (/wiki/Kipper_tie) school (/wiki/School_tie) stock (/wiki/Stock_tie) Scarf (/wiki/Scarf) Tippet (/wiki/Tippet) Tops (/wiki/Top_(clothing)) Blouse (/wiki/Blouse) cache-cœur (/wiki/Cache-c%C5%93ur) crop top (/wiki/Crop_top) halterneck (/wiki/Halterneck) tube top (/wiki/Tube_top) Cycling (/wiki/Cycling_jersey) Kurta (/wiki/Kurta) Mantle (/wiki/Mantle_(clothing)) Shirt (/wiki/Shirt) dress (/wiki/Dress_shirt) Henley (/wiki/Henley_shirt) polo (/wiki/Polo_shirt) sleeveless (/wiki/Sleeveless_shirt) T (/wiki/T-shirt) Sweater (/wiki/Sweater) cardigan (/wiki/Cardigan_(sweater)) guernsey (/wiki/Guernsey_(clothing)) hoodie (/wiki/Hoodie) jersey (/wiki/Jersey_(clothing)) polo neck (/wiki/Polo_neck) shrug (/wiki/Shrug_(clothing)) sweater vest (/wiki/Sweater_vest) twinset (/wiki/Twinset) Waistcoat (/wiki/Waistcoat) Trousers (/wiki/Trousers) Bell-bottoms (/wiki/Bell-bottoms) Bondage (/wiki/Bondage_pants) Capri (/wiki/Capri_pants) Cargo (/wiki/Cargo_pants) Chaps (/wiki/Chaps) Formal (/wiki/Formal_trousers) Go-to-hell (/wiki/Go-to-hell_pants) High water (/wiki/High-rise_(fashion)) Lowrise (/wiki/Low-rise_(fashion)) Jeans (/wiki/Jeans) Jodhpurs (/wiki/Jodhpurs) Overalls (/wiki/Overalls) Palazzo (/wiki/Palazzo_pants) Parachute (/wiki/Parachute_pants) Pedal pushers (/wiki/Pedal_pushers) Phat (/wiki/Phat_pants) Shorts (/wiki/Shorts) Bermuda (/wiki/Bermuda_shorts) dycling (/wiki/Cycling_shorts) dolphin (/wiki/Dolphin_shorts) gym (/wiki/Gym_shorts) hotpants (/wiki/Hotpants) running (/wiki/Running_shorts) Slim-fit (/wiki/Slim-fit_pants) Sweatpants (/wiki/Sweatpants) Windpants (/wiki/Windpants) Yoga pants (/wiki/Yoga_pants) Suits (/wiki/Suit) and uniforms (/wiki/Uniform) Ceremonial dress (/wiki/Ceremonial_dress) academic (/wiki/Academic_dress) court (/wiki/Court_dress) diplomatic (/wiki/Diplomatic_uniform) Folk (/wiki/Folk_costume) Jodhpuri (/wiki/Jodhpuri) Jumpsuit (/wiki/Jumpsuit) Military (/wiki/Military_uniform) full (/wiki/Full_dress_uniform) mess (/wiki/Mess_dress_uniform) service (/wiki/Service_dress_uniform) sailor (/wiki/Sailor_suit) combat (/wiki/Combat_uniform) Pantsuit (/wiki/Pantsuit) Religious (/wiki/Religious_clothing) cassock (/wiki/Cassock) clerical (/wiki/Clerical_clothing) vestment (/wiki/Vestment) School (/wiki/School_uniform) Prison (/wiki/Prison_uniform) Workwear (/wiki/Workwear) boilersuit (/wiki/Boilersuit) cleanroom (/wiki/Cleanroom_suit) hazmat (/wiki/Hazmat_suit) space (/wiki/Space_suit) scrubs (/wiki/Scrubs_(clothing)) Dresses (/wiki/Dress) and gowns (/wiki/Gown) Formal, semi- formal, informal Backless (/wiki/Backless_dress) Bouffant gown (/wiki/Bouffant_gown) Coatdress (/wiki/Coatdress) Cocktail (/wiki/Cocktail_dress) little black (/wiki/Little_black_dress) Evening (/wiki/Evening_gown) ball gown (/wiki/Ball_gown) debutante (/wiki/Debutante_dress) Plain (/wiki/Plain_dress) Prairie (/wiki/Prairie_dress) Princess line (/wiki/Princess_line) Strapless (/wiki/Strapless_dress) Wedding (/wiki/Wedding_dress) Wrap (/wiki/Wrap_dress) Casual House (/wiki/House_dress) Jumper (/wiki/Jumper_(dress)) Romper suit (/wiki/Romper_suit) Sheath (/wiki/Sheath_dress) Shirtdress (/wiki/Shirtdress) Slip (/wiki/Slip_dress) Sundress (/wiki/Sundress) Skirts (/wiki/Skirt) A-line (/wiki/A-line_(clothing)) Ballerina (/wiki/Ballerina_skirt) Denim (/wiki/Denim_skirt) Men's (/wiki/Men%27s_skirts) Miniskirt (/wiki/Miniskirt) Pencil (/wiki/Pencil_skirt) Prairie (/wiki/Prairie_skirt) Rah-rah (/wiki/Rah-rah_skirt) Sarong (/wiki/Sarong) Skort (/wiki/Skort) Tutu (/wiki/Tutu_(clothing)) Wrap (/wiki/Wrap_(clothing)) Underwear (/wiki/Underwear) and lingerie (/wiki/Lingerie) Top Bra (/wiki/Bra) Camisole (/wiki/Camisole) Undershirt (/wiki/Undershirt) Bottom Diaper (/wiki/Diaper) Training pants (/wiki/Training_pants) Leggings (/wiki/Leggings) Panties (/wiki/Panties) Plastic pants (/wiki/Plastic_pants) Slip (/wiki/Slip_(clothing)) Thong (/wiki/Thong) Underpants (/wiki/Underpants) boxer briefs (/wiki/Boxer_briefs) boxer shorts (/wiki/Boxer_shorts) briefs (/wiki/Briefs) Full Bodysuit, adult (/wiki/Bodysuit) Bodysuit, infant (/wiki/Infant_bodysuit) Long underwear (/wiki/Long_underwear) See-through (/wiki/See-through_clothing) Teddy (/wiki/Teddy_(garment)) Coats (/wiki/Coat) and outerwear (/wiki/List_of_outerwear) Overcoats (/wiki/Overcoat) Car (/wiki/Car_coat) Chesterfield (/wiki/Chesterfield_coat) Covert (/wiki/Covert_coat) Duffel (/wiki/Duffel_coat) Duster (/wiki/Duster_(clothing)) Greatcoat (/wiki/Greatcoat) British Warm (/wiki/British_Warm) Guards Coat (/wiki/Guards_Coat) Greca (/wiki/Greca_(clothing)) Over-frock (/wiki/Over-frock_coat) Riding (/wiki/Riding_coat) shadbelly (/wiki/Shadbelly) Trench (/wiki/Trench_coat) Ulster (/wiki/Ulster_coat) Cloak (/wiki/Cloak) opera (/wiki/Opera_cloak) Paletot (/wiki/Paletot) Pea (/wiki/Pea_coat) Polo (/wiki/Polo_coat) Raincoat (/wiki/Raincoat) Mackintosh (/wiki/Mackintosh) Suit coats Frock coat (/wiki/Frock_coat) bekishe (/wiki/Bekishe) rekel (/wiki/Rekel) Mess jacket (/wiki/Mess_jacket) Suit jacket (/wiki/Suit_jacket) Blazer (/wiki/Blazer) smoking (/wiki/Smoking_jacket) sports (/wiki/Sport_coat) Teba (/wiki/Teba_jacket) Tailcoat (/wiki/Tailcoat) dress (/wiki/White_tie#Dress_coat) morning (/wiki/Morning_dress#Morning_coat) Other Apron (/wiki/Apron) pinafore (/wiki/Pinafore) Blouson (/wiki/Blouson) Cagoule (/wiki/Cagoule) Cape (/wiki/Cape) ferraiolo (/wiki/Ferraiolo) Inverness (/wiki/Inverness_cape) Mantle (/wiki/Mantle_(clothing)) monastic (/wiki/Mantle_(monastic_vesture)) royal (/wiki/Mantle_(royal_garment)) mozzetta (/wiki/Mozzetta) pellegrina (/wiki/Pellegrina) Coatee (/wiki/Coatee) Cut-off (/wiki/Cut-off) Gilet (/wiki/Gilet) Jacket (/wiki/Jacket) down (/wiki/Down_jacket) flight (/wiki/Flight_jacket) goggle (/wiki/Goggle_jacket) Harrington (/wiki/Harrington_jacket) leather (/wiki/Leather_jacket) mackinaw (/wiki/Mackinaw_jacket) Norfolk (/wiki/Norfolk_jacket) safari (/wiki/Safari_jacket) Jerkin (/wiki/Jerkin_(garment)) Lab coat (/wiki/White_coat) Parka (/wiki/Parka) Poncho (/wiki/Poncho) Robe (/wiki/Robe) bathrobe (/wiki/Bathrobe) dressing gown (/wiki/Dressing_gown) Shawl (/wiki/Shawl) Ski suit (/wiki/Ski_suit) Sleeved blanket (/wiki/Sleeved_blanket) Windbreaker (/wiki/Windbreaker) Nightwear (/wiki/Nightwear) Babydoll (/wiki/Babydoll) Babygrow (/wiki/Babygrow) Blanket sleeper (/wiki/Blanket_sleeper) Negligee (/wiki/Negligee) Nightgown (/wiki/Nightgown) Nightshirt (/wiki/Nightshirt) Pajamas (/wiki/Pajamas) Swimwear (/wiki/Swimsuit) Bikini (/wiki/Bikini) Burkini (/wiki/Burkini) Boardshorts (/wiki/Boardshorts) Dry suit (/wiki/Dry_suit) Monokini (/wiki/Monokini) One-piece (/wiki/One-piece_swimsuit) Rash guard (/wiki/Rash_guard) Sling (/wiki/Sling_swimsuit) Square leg suit (/wiki/Square_leg_suit) Swim briefs (/wiki/Swim_briefs) Swim diaper (/wiki/Swim_diaper) Trunks (/wiki/Trunks_(clothing)) Wetsuit (/wiki/Wetsuit) Footwear (/wiki/Footwear) Boot (/wiki/Boot) Court shoe (/wiki/Court_shoe) Dress boot (/wiki/Dress_boot) Dress shoe (/wiki/Dress_shoe) Flip-flops (/wiki/Flip-flops) Sandal (/wiki/Sandal) Shoe (/wiki/Shoe) Slipper (/wiki/Slipper) Sneaker (/wiki/Sneaker) Legwear (/wiki/Hosiery) Sock (/wiki/Sock) Hold-ups (/wiki/Hold-ups) Garter (/wiki/Garter) Pantyhose (/wiki/Pantyhose) Stocking (/wiki/Stocking) Tights (/wiki/Tights) Accessories (/wiki/Fashion_accessory) Belt (/wiki/Belt_(clothing)) Boutonnière (/wiki/Boutonni%C3%A8re) Coin purse (/wiki/Coin_purse) Cufflink (/wiki/Cufflink) Cummerbund (/wiki/Cummerbund) Gaiters (/wiki/Gaiters) Glasses (/wiki/Glasses) Gloves (/wiki/Glove) Headband (/wiki/Headband) Handbag (/wiki/Handbag) Jewellery (/wiki/Jewellery) Livery (/wiki/Livery) Muff (/wiki/Muff_(handwarmer)) Pocket protector (/wiki/Pocket_protector) Pocket watch (/wiki/Pocket_watch) Sash (/wiki/Sash) Spats (/wiki/Spats_(footwear)) Sunglasses (/wiki/Sunglasses) Suspenders (/wiki/Suspenders) Umbrella (/wiki/Umbrella) Wallet (/wiki/Wallet) Watch (/wiki/Watch) Dress codes (/wiki/Dress_code) Western (/wiki/Western_dress_codes) Formal (/wiki/Formal_wear) morning dress (/wiki/Morning_dress) white tie (/wiki/White_tie) Semi-formal (/wiki/Semi-formal_wear) black lounge suit (/wiki/Black_lounge_suit) black tie (/wiki/Black_tie) Informal (/wiki/Informal_wear) Casual (/wiki/Casual_wear) Related Clothing fetish (/wiki/Clothing_fetish) Clothing swap (/wiki/Clothing_swap) Costume (/wiki/Costume) creature suit (/wiki/Creature_suit) Halloween costume (/wiki/Halloween_costume) Cross-dressing (/wiki/Cross-dressing) Environmental impact (/wiki/Environmental_impact_of_fashion) Fashion (/wiki/Fashion) haute couture (/wiki/Haute_couture) made-to-measure (/wiki/Made-to-measure) ready-to-wear (/wiki/Ready-to-wear) Fur clothing (/wiki/Fur_clothing) types (/wiki/List_of_types_of_fur) Fursuit (/wiki/Fursuit) Global trade of secondhand clothing (/wiki/Global_trade_of_secondhand_clothing) Laws (/wiki/Clothing_laws_by_country) List of individual dresses (/wiki/List_of_individual_dresses) Reconstructed 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Expensive luxury clothing This article may require copy editing (/wiki/Wikipedia:Basic_copyediting) for tone and style not in keeping with Wikipedia . You can assist by editing it (/wiki/Special:EditPage/Designer_clothing) . ( July 2024 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Designer clothing in a shop window in Beverly Hills (/wiki/Beverly_Hills) Designer clothing is clothing (/wiki/Clothing) designed by a particular fashion designer (/wiki/Fashion_designer) or licensed by a person or brand. It is often luxury clothing proven to be high quality and haute couture (/wiki/Haute_couture) for the general public, made by, or carrying the label of, a well-known designer. Licensing of designer names has been a common practice within the fashion industry since about the 1970s. Designer clothing comprises numerous types of apparel, including designer jeans that often cost several hundreds of dollars. Description [ edit ] Designer clothing originally referred to clothing designed (/wiki/Designer) by a particular person. The meaning was expanded to include designs licensed by a designer or company. Licensing of designer names was pioneered by designers like Pierre Cardin (/wiki/Pierre_Cardin) in the 1960s and has been a common practice within the fashion industry since about the 1970s. [1] (#cite_note-1) Designer clothing is often expensive luxury clothing proven to be high quality and haute couture (/wiki/Haute_couture) for the general public, made by, or carrying the label of, a well-known fashion designer (/wiki/Fashion_designer) . [ citation needed ] Brands [ edit ] Brands (/wiki/Brand) are often used to identify designer clothing. Designer clothing may not be created by the founder of the company. For example, the actual designer of Chanel (/wiki/Chanel) is not its original founder and designer, Gabrielle Chanel (/wiki/Gabrielle_Chanel) , but French designer Virginie Viard (/wiki/Virginie_Viard) . The quality of the clothing and the degree of its resemblance, if any, to the designer's work vary considerably depending on the licensee and the terms of the agreement the designer has struck. Some terms may limit the number of garment styles that may be produced, allowing the designer to veto any designs he or she finds unappealing. Examples include: Armani (/wiki/Armani) Alexander Wang (/wiki/Alexander_Wang_(designer)) Balenciaga (/wiki/Balenciaga) Balmain (/wiki/Balmain_(fashion_house)) Berluti (/wiki/Berluti) Bottega Veneta (/wiki/Bottega_Veneta) Burberry (/wiki/Burberry) Calvin Klein (/wiki/Calvin_Klein) Chanel (/wiki/Chanel) Céline (/wiki/C%C3%A9line_(brand)) Christian Louboutin (/wiki/Christian_Louboutin) Diesel (/wiki/Diesel_(brand)) Dior (/wiki/Dior) Dolce & Gabbana (/wiki/Dolce_%26_Gabbana) Escada (/wiki/Escada) Fendi (/wiki/Fendi) Givenchy (/wiki/Givenchy) Gucci (/wiki/Gucci) Hermès (/wiki/Herm%C3%A8s) Jean Paul Gaultier (/wiki/Jean_Paul_Gaultier) Jil Sander (/wiki/Jil_Sander_(brand)) Karl Lagerfeld (/wiki/Karl_Lagerfeld) Kenzo (/wiki/Kenzo_(brand)) Loewe (/wiki/Loewe_(fashion_brand)) Longchamp (/wiki/Longchamp_(company)) Louis Vuitton (/wiki/Louis_Vuitton) Marc Jacobs (/wiki/Marc_Jacobs) Max Mara (/wiki/Max_Mara) Michael Kors (/wiki/Michael_Kors) MISBHV (/wiki/MISBHV) Oscar de la Renta (/wiki/Oscar_de_la_Renta) Ralph Lauren (/wiki/Ralph_Lauren_Corporation) Philipp Plein (/wiki/Philipp_Plein) Prada (/wiki/Prada) Saint Laurent Paris (/wiki/Saint_Laurent_Paris) Salvatore Ferragamo (/wiki/Salvatore_Ferragamo) Tod's (/wiki/Tod%27s) Maison Margiela (/wiki/Maison_Margiela) Valentino (/wiki/Valentino_(fashion_designer)) Versace (/wiki/Versace) Types [ edit ] Designer clothing comprises numerous types of apparel, including designer jeans. Designer jeans [ edit ] Staff working at the Armani Jeans store in the Hong Kong Central IFC Mall. 2012. A shop named CONS Jeans in the Albanian city of Shkodra. 2008. The interior of the JC Jeans and Clothes boutique in Stockholm, Sweden. 2011. Facade of the Pepe Jeans boutique in Belfast, Northern Ireland. 2009. Designer jeans (/wiki/Jeans) are available at many different price points usually at several hundreds of dollars, with some even approaching US$1,000. [2] (#cite_note-2) Before the Great Recession (/wiki/Great_Recession) , premium denim was one of the fastest growing categories of the apparel business, and there seemed to be no limit to what customers would pay for the latest label, fit, finish, or wash. [3] (#cite_note-NYT-3) Americans bought US$59.2 billion of jeans in 2018 with over 450 million pairs sold, according to Alexander Eser,. [4] (#cite_note-4) But only about 1% of jeans sold in the U.S. over that year cost more than $50. [5] (#cite_note-WSJ-5) Since the "Great Recession," the landscape for premium jeans has changed: "Charging $600 for jeans for no reason at all — those days are over," said You Nguyen, the senior vice president of women's merchandising and design for Levi Strauss & Company (/wiki/Levi_Strauss_%26_Co.) . [3] (#cite_note-NYT-3) The difference between the $300 jeans and the $30 jeans often has to do with the fabric quality, hardware, washes, design details, abrasions, and where they are manufactured. A "fancy" pair of jeans that has been treated with abrasions, extra washes, etc., to break the denim down to achieve a texture has undergone a certain amount of damage to get the 'worn in' feel. In this sense, the expensive jeans may be more delicate than the cheap ones. Jeans brands also try to stand out from season to season by using patented materials, such as rivets and stitching, and by using special washes and distressing methods. These might involve dying, pressing, and even using sandpaper and drills on the raw jeans. These methods can be particularly expensive when done in the U.S., where factories must meet more stringent environmental and labor standards than in many low-cost nations. [5] (#cite_note-WSJ-5) To be produced domestically (in the United States), jeans have to be priced at "$200-plus," says Shelda Hartwell-Hale, a vice president at Directives West, an L.A.-based division of fashion consulting firm Doneger Group. [5] (#cite_note-WSJ-5) The profit margins on premium jeans can be substantial. One retail executive says his gross profit margins for private-label jeans, which he makes for Wal-Mart Stores Inc., Sears Holdings Corp., and other retailers, are less than 20%, whereas the margins for his own premium lines are 40%-to-50%. [5] (#cite_note-WSJ-5) See also [ edit ] History of Western fashion (/wiki/History_of_Western_fashion) Digital fashion (/wiki/Digital_fashion) Red carpet fashion (/wiki/Red_carpet_fashion) References [ edit ] ^ (#cite_ref-1) Walker, Myra. "Pierre Cardin" (https://fashion-history.lovetoknow.com/fashion-clothing-industry/fashion-designers/pierre-cardin) . www.lovetoknow.com . Retrieved 7 June 2018 . ^ (#cite_ref-2) "Urbanworld Designer Jeans worth over US$1,000" (https://urbanworld.eu/products/urbanworld-designer-pants-limited-to-50) . July 2013 . Retrieved 5 January 2020 . ^ Jump up to: a b Wilson, Eric (28 October 2009). "Preshrunk Prices" (https://www.nytimes.com/2009/10/29/fashion/29JEANS.html?pagewanted=all&_r=0) . The New York Times (/wiki/The_New_York_Times) . ^ (#cite_ref-4) Eser, Alexander. "Essential Jeans Industry Statistics In 2024" (https://zipdo.co/statistics/jeans-industry/#:~:text=Approximately%20450%20million%20pairs%20of,over%20%2414%20billion%20in%20revenue.) . zipdo . zipdo . Retrieved 28 March 2024 . ^ Jump up to: a b c d Binkley, Christina (7 July 2011). "How Can Jeans Cost $300?" (https://www.wsj.com/articles/SB10001424052702303365804576429730284498872) . Wall Street Journal . Further reading [ edit ] Agins, Terry, The End of Fashion: How Marketing Changed the Clothing Business Forever , Harper Paperbacks: 2000. v t e Fashion (/wiki/Fashion) articles Index of fashion articles (/wiki/Index_of_fashion_articles) General Environmental impact of fashion (/wiki/Environmental_impact_of_fashion) Fashion accessory (/wiki/Fashion_accessory) Fashion design (/wiki/Fashion_design) Fashion design copyright (/wiki/Fashion_design_copyright) Fashion matrix (/wiki/Fashion_matrix) Fashion museum (/wiki/Fashion_museum) Fashion plate (/wiki/Fashion_plate) Fashion tourism (/wiki/Fashion_tourism) Semiotics of fashion (/wiki/Semiotics_of_fashion) History (/wiki/History_of_fashion_design) History of clothing and textiles (/wiki/History_of_clothing_and_textiles) History of Western fashion (/wiki/History_of_Western_fashion) History of fashion design (/wiki/History_of_fashion_design) Timeline of clothing and textiles technology (/wiki/Timeline_of_clothing_and_textiles_technology) 19th century (/wiki/19th_century_in_fashion) 21st century (/wiki/21st_century_in_fashion) Events (/wiki/List_of_fashion_events) Fashion show (/wiki/Fashion_show) Fashion week (/wiki/Fashion_week) Industry (/wiki/Fashion_industry) Awards (/wiki/Category:Fashion_awards) Clothing industry (/wiki/Clothing_industry) Designer clothing Digital fashion (/wiki/Digital_fashion) Fashion blog (/wiki/Fashion_blog) Fashion capital (/wiki/Fashion_capital) Fashion entrepreneur (/wiki/Fashion_entrepreneur) Fashion editor (/wiki/Fashion_editor) Fashion forecasting (/wiki/Fashion_forecasting) Fashion illustration (/wiki/Fashion_illustration) Fashion influencer (/wiki/Fashion_influencer) Fashion journalism (/wiki/Fashion_journalism) Fashion law (/wiki/Fashion_law) Fashion photography (/wiki/Fashion_photography) Fashion merchandising (/wiki/Fashion_merchandising) Fast fashion (/wiki/Fast_fashion) in China (/wiki/Fast_fashion_in_China) Red carpet fashion (/wiki/Red_carpet_fashion) Social media in the fashion 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Italian menswear manufacturer Corneliani Industry Fashion Founded 1930 ; 94 years ago ( 1930 ) Founder Alfredo Corneliani Headquarters Mantua (/wiki/Mantua) , Italy (/wiki/Italy) Area served Worldwide Products Men's tailoring, Classic Italian suits Services Fashion (/wiki/Fashion) production, ready to wear, made to measure (/wiki/Made_to_measure) Parent (/wiki/Parent_company) Investcorp (/wiki/Investcorp) Website www (http://www.Corneliani.com) .corneliani (http://www.Corneliani.com) .com (http://www.Corneliani.com) Corneliani is an Italian (/wiki/Economy_of_Italy) menswear (/wiki/Menswear) manufacturer best known for its suits (/wiki/Suit_(clothing)) and sportcoats (/wiki/Sportcoat) . The company distributes its products in over 70 countries worldwide through multi-brand stores and around 90 single-brand boutiques; Corneliani also manufactures and delivers made-to-measure (/wiki/Made-to-measure) suits worldwide. Its revenue (/wiki/Revenue) in 2017 was €110 million. Corneliani has been 55%-owned by Investcorp (/wiki/Investcorp) since 2016. History [ edit ] Originally a family-owned firm (/wiki/Family-owned_firm) , its history stretches back to the 1930s when Alfredo Corneliani set up a small business making raincoats (/wiki/Raincoat) and coats, which was then put on hold during World War II (/wiki/World_War_II) . Alfredo's sons Claudio and Carlalberto later set up Corneliani S.p.A. in Mantua (/wiki/Mantua) in 1958. [1] (#cite_note-1) In 1985 the company set up Corneliani USA Inc. in New York to distribute its ranges throughout the US and Canada. In 1997 Corneliani opened its flagship store in Via Montenapoleone (/wiki/Via_Montenapoleone) , in Milan (/wiki/Milan) . In 2005 Corneliani received the Leonardo Prize for Quality, awarded by the President of Italy (/wiki/President_of_Italy) to Italian companies which promote Italian-made (/wiki/Made_in_Italy) goods. [2] (#cite_note-2) In 2008 Corneliani opened a mono-brand boutique on London (/wiki/London) ’s New Bond Street (/wiki/New_Bond_Street) . In 2012 Corneliani Shanghai Ltd was founded and in 2013 a directly-owned flagship store (/wiki/Flagship_store) in Shanghai (/wiki/Shanghai) was opened. Today, Corneliani employs 600 tailors, seamstresses and pattern makers in Mantua, which is still where its core products are made. [3] (#cite_note-3) In 2014, Bill de Blasio (/wiki/Bill_de_Blasio) gave his inaugural speech as mayor of New York in a Corneliani suit, [4] (#cite_note-4) and the tenor Andrea Bocelli (/wiki/Andrea_Bocelli) got married in Corneliani suit. [5] (#cite_note-5) In June 2016, the Bahrain (/wiki/Bahrain) -based investment group Investcorp (/wiki/Investcorp) acquired a 55% stake in Corneliani from the company's family members for $50 million, valuing the company around $100 million. Following this purchase, Carlalberto Corneliani stepped down as CEO of the company. [6] (#cite_note-:0-6) [7] (#cite_note-7) In July 2018, Corneliani opened an online retail store in the United States. [8] (#cite_note-8) In November 2018, Luigi Ferrando replaced Paolo Roviera as CEO of the company. [9] (#cite_note-9) In December 2019, Giorgio Brandazza was appointed CEO of Corneliani. [6] (#cite_note-:0-6) [10] (#cite_note-10) In January 2021, after the coronavirus pandemic (/wiki/Coronavirus_pandemic) negatively affected the company's sales, the Italian Ministry for Economic Development allowed it to keep running until April 15, 2021 until a new investor would be found. The Corneliani family still holds 20% of the company. [11] (#cite_note-11) References [ edit ] ^ (#cite_ref-1) DeAcetis, Joseph. "How Italian Luxury Menswear Fashion House Corneliani Stays Italiano!" (https://www.forbes.com/sites/josephdeacetis/2017/11/30/how-italian-luxury-menswear-fashion-house-corneliani-stays-italiano/) . Forbes . Retrieved 2021-03-21 . ^ (#cite_ref-2) "Leonardo Italian Quality Prize Winners" (https://www.comitatoleonardo.it/en/premi/2005/) . Comitatoleonardo.it . 2005. Archived (https://web.archive.org/web/20190427023738/https://www.comitatoleonardo.it/en/premi/2005/) from the original on 2019-04-27. ^ (#cite_ref-3) Beresford, Jessica. "How Corneliani Is Ageing Gracefully | The Rake" (https://therake.com/stories/craft/corneliani-ageing-gracefully/) . therake.com . Archived (https://web.archive.org/web/20180202155236/https://therake.com/stories/craft/corneliani-ageing-gracefully/) from the original on 2018-02-02 . Retrieved 2020-02-06 . ^ (#cite_ref-4) Koblin, John (2014-01-08). "The de Blasios: Dressed for (and by) New York" (https://www.nytimes.com/2014/01/09/fashion/Bill-de-Blasio-Fashion-Rothmans.html) . The New York Times . ISSN (/wiki/ISSN_(identifier)) 0362-4331 (https://www.worldcat.org/issn/0362-4331) . Retrieved 2021-03-21 . ^ (#cite_ref-5) "Andrea Bocelli weds longtime companion Veronica Berti" (https://www.usatoday.com/story/life/people/2014/03/24/andrea-bocelli-marries-longtime-companion-berti/6839675/) . USA TODAY . Retrieved 2021-03-21 . ^ Jump up to: a b Turra, Alessandra (2020-08-07). "Corneliani CEO Sets Relaunch Strategy" (https://wwd.com/business-news/business-features/corneliani-ceo-sets-relaunch-strategy-1203694577/) . WWD . Archived (https://web.archive.org/web/20200809184102/https://wwd.com/business-news/business-features/corneliani-ceo-sets-relaunch-strategy-1203694577/) from the original on 2020-08-09 . Retrieved 2021-03-21 . ^ (#cite_ref-7) "Investcorp Takes Stake in Corneliani" (https://www.businessoffashion.com/articles/news-analysis/investcorp-takes-stake-in-corneliani) . The Business of Fashion . 2016-06-21. Archived (https://web.archive.org/web/20160622124248/https://www.businessoffashion.com/articles/news-analysis/investcorp-takes-stake-in-corneliani) from the original on 2016-06-22 . Retrieved 2021-03-21 . ^ (#cite_ref-8) Turra, Alessandra (2018-07-31). "Corneliani Debuts U.S. Online Store" (https://wwd.com/business-news/retail/corneliani-debuts-u-s-online-store-1202766953/) . WWD . Retrieved 2021-03-21 . ^ (#cite_ref-9) Zargani, Luisa (2018-11-26). "Another Change Hits Italy's Men's Brands as Corneliani CEO Exits" (https://wwd.com/menswear-news/mens-designer-luxury/another-change-hits-italys-mens-brands-as-corneliani-ceo-exits-1202912763/) . WWD . Archived (https://web.archive.org/web/20181126202614/https://wwd.com/menswear-news/mens-designer-luxury/another-change-hits-italys-mens-brands-as-corneliani-ceo-exits-1202912763/) from the original on 2018-11-26 . Retrieved 2021-03-21 . ^ (#cite_ref-10) Zargani, Luisa (2019-12-02). "Corneliani Appoints New CEO" (https://wwd.com/menswear-news/mens-designer-luxury/corneliani-appoints-new-ceo-1203382746/) . WWD . Archived (https://web.archive.org/web/20191203023005/https://wwd.com/menswear-news/mens-designer-luxury/corneliani-appoints-new-ceo-1203382746/) from the original on 2019-12-03 . Retrieved 2021-03-21 . ^ (#cite_ref-11) Carrera, Martino (2021-01-27). "BasicNet Seen as Potential Investor in Corneliani" (https://wwd.com/business-news/mergers-acquisitions/basicnet-seen-potential-investor-corneliani-1234717573/) . WWD . Retrieved 2021-03-21 . External links [ edit ] Official website (http://www.Corneliani.com) Portals (/wiki/Wikipedia:Contents/Portals) : Fashion (/wiki/Portal:Fashion) Italy (/wiki/Portal:Italy) Companies (/wiki/Portal:Companies) NewPP limit report Parsed by mw‐web.eqiad.main‐b7d4d997‐2lbrl Cached time: 20240701015807 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1] CPU time usage: 0.364 seconds Real time usage: 0.492 seconds Preprocessor visited node count: 1885/1000000 Post‐expand include size: 31492/2097152 bytes Template argument size: 1575/2097152 bytes Highest expansion depth: 15/100 Expensive parser function count: 4/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 45497/5000000 bytes Lua time usage: 0.227/10.000 seconds Lua memory usage: 6117603/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 447.435 1 -total 40.53% 181.330 1 Template:Reflist 33.59% 150.273 10 Template:Cite_web 26.96% 120.625 1 Template:Infobox_company 23.78% 106.422 1 Template:Infobox 18.93% 84.705 1 Template:Short_description 10.80% 48.342 2 Template:Pagetype 9.71% 43.431 1 Template:Portal_bar 5.43% 24.296 8 Template:Main_other 4.59% 20.552 1 Template:SDcat Saved in parser cache with key enwiki:pcache:idhash:5346538-0!canonical and timestamp 20240701015807 and revision id 1225306252. 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Lace made using sacrificial fabric This article includes a list of references (/wiki/Wikipedia:Citing_sources) , related reading (/wiki/Wikipedia:Further_reading) , or external links (/wiki/Wikipedia:External_links) , but its sources remain unclear because it lacks inline citations (/wiki/Wikipedia:Citing_sources#Inline_citations) . Please help improve (/wiki/Wikipedia:WikiProject_Fact_and_Reference_Check) this article by introducing (/wiki/Wikipedia:When_to_cite) more precise citations. ( April 2019 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Chemical lace Teneriffe motif lace Chemical lace (sometimes referred to as Schiffli lace ) is a form of machine (/wiki/Machine) -made lace (/wiki/Lace) . This method of lace-making (/wiki/Lace-making) is done by embroidering (/wiki/Embroidery) a pattern on a sacrificial fabric (/wiki/Textile) that has been chemically treated so as to disintegrate after the pattern has been created. Schiffli machines (/wiki/Schiffli_embroidery_machine) came into use in the late 19th century. Before that, embroidery machines called Swiss hand machine (/wiki/Hand_embroidery_machine) were used to make chemical lace as well as embroideries. This embroidery is nowadays typically done on a multi-head or multi- needle (/wiki/Sewing_needle) Schiffli machine (/wiki/Schiffli_embroidery_machine) or loom (/wiki/Loom) that has a very large, continuous and overlapping embroidery field. The lace pattern is designed such that the embroidery thread creates an interlocking series of threads (/wiki/Yarn) that will, in essence, become a "stand-alone" piece of lace. After the embroidery is completed the embroidered fabric is immersed in a solution (/wiki/Solution_(chemistry)) that will not harm the embroidery thread but completely dissolves the sacrificial fabric leaving just the lace. Utilizing these large machines and this technique, a single piece of lace could be, using today's state-of-the-art (/wiki/State-of-the-art) machines, over 60 inches wide by 15 yards long. In practice, this system is used to produce many smaller items with one setup. Since the original development of chemical lace, other methods have been developed beyond the chemical washing method described above. These include the use of base fabrics that are water (/wiki/Water) - soluble (/wiki/Solubility) or that disintegrate under heat. These methods are generally too expensive or impractical for large-scale production. These are typically used by smaller embroidery facilities specializing in targeted markets, home-based businesses, or hobbyists. Chemical lace can be distinguished from needle lace (/wiki/Needle_lace) by a slight fuzziness in the threads. References [ edit ] External links [ edit ] Wikimedia Commons has media related to Chemical lace (https://commons.wikimedia.org/wiki/Category:Chemical_lace) . Schiffli Lace and Embroidery Manufacturers Association (http://www.schiffli.org/) Schiffli Machine Embroidery Guide (http://www.textileschool.com/School/Embroidery.aspx) v t e Lace (/wiki/Lace) types Needle lace (/wiki/Needle_lace) Filet lace (/wiki/Filet_lace) Punto in Aria (/wiki/Punto_in_Aria) Point de Venise (/wiki/Point_de_Venise) Point de France (/wiki/Point_de_France) Alençon (/wiki/Alen%C3%A7on_lace) Aemilia Ars (/w/index.php?title=Aemilia_Ars&action=edit&redlink=1) Argentan (/wiki/Argentan_lace) Argentella (/wiki/Argentella) Armenian (/wiki/Armenian_needlelace) Burano (https://it.wikipedia.org/wiki/Merletto%20di%20Burano) Halas lace (/wiki/Halas_lace) Hedebo embroidery (/wiki/Hedebo_embroidery) Hollie Point (/wiki/Hollie_Point) Nallıhan (/wiki/Nall%C4%B1han_silk_needlelace) Point de Gaze (/wiki/Point_de_Gaze) Kenmare Lace (/wiki/Kenmare_lace) Ñandutí (/wiki/%C3%91andut%C3%AD) Oya (/wiki/Oya_(lace)) Pag (/wiki/Pag_lace) Puncetto Valsesiano (/w/index.php?title=Puncetto_Valsesiano&action=edit&redlink=1) Tenerife (/wiki/Tenerife_lace) Youghal (/wiki/Youghal_lace) Embroidery (/wiki/Embroidery) Buratto (/wiki/Buratto) Filet lace (/wiki/Filet_lace) Reticella (/wiki/Reticella) Limerick (/wiki/Limerick_lace) Needlerun net (/wiki/Needlerun_net) Tambour (/wiki/Tambour_lace) Cutwork (/wiki/Cutwork) Broderie anglaise (/wiki/Broderie_anglaise) Carrickmacross (/wiki/Carrickmacross_lace) Lefkara lace (/wiki/Lefkara_lace) Saba lace (/wiki/Saba_lace) Bobbin lace (/wiki/Bobbin_lace) Mesh grounds (/wiki/Mesh_grounded_bobbin_lace) Torchon (/wiki/Torchon_lace) Freehand (/wiki/Freehand_lace) Arras (/wiki/Arras_lace) Bayeux (/wiki/Bayeux_lace) Beeralu (/w/index.php?title=Beeralu&action=edit&redlink=1) Blonde (/wiki/Blonde_lace) Bucks point (/wiki/Bucks_point_lace) Chantilly (/wiki/Chantilly_lace) Chefoo (/w/index.php?title=Chefoo_lace&action=edit&redlink=1) Cogne (/wiki/Cogne_lace) Tønder (/wiki/T%C3%B8nder_lace) Beveren (/wiki/Beveren_lace) Lille (/wiki/Lille_lace) Binche (/wiki/Binche_lace) Flanders (/wiki/Flanders_lace) Paris (/wiki/Paris_lace) Valenciennes (/wiki/Valenciennes_lace) Antwerp (/wiki/Antwerp_lace) Mechlin (/wiki/Mechlin_lace) Ipswich (/wiki/Ipswich_lace) 's Gravenmoer (/w/index.php?title=%27s_Gravenmoer_lace&action=edit&redlink=1) Mundillo (/wiki/Mundillo) Guipure (/wiki/Guipure) Greek (/wiki/Greek_lace) Genoese (/wiki/Genoese_lace) Bedfordshire (/wiki/Bedfordshire_lace) Cluny (/wiki/Cluny_lace) Dentelle du Puy (https://fr.wikipedia.org/wiki/Dentelle_du_Puy) Liptov (/wiki/Liptov) Maltese (/wiki/Maltese_lace) Yak lace (/wiki/Yak_lace) Part laces (/wiki/Part_lace) Honiton (/wiki/Honiton_lace) Bruges (/wiki/Bruges_lace) Brussels (/wiki/Brussels_lace) Rosaline (/wiki/Rosaline_lace) Point d'Angleterre (/wiki/Brussels_lace#Point_d'Angleterre) Tape (/wiki/Bobbin_tape_lace) Cantù (/w/index.php?title=Cant%C3%B9_lace&action=edit&redlink=1) Milanese (/wiki/Milanese_bobbin_lace) Hinojosa (/w/index.php?title=Hinojosa_lace&action=edit&redlink=1) Russian (/wiki/Russian_lace) Idrija (/wiki/Idrija_lace) Schneeberg (/wiki/Schneeberg_lace) Peasant (/w/index.php?title=Peasant_lace&action=edit&redlink=1) Tape lace (/wiki/Tape_lace) Mezzopunto (/w/index.php?title=Mezzopunto&action=edit&redlink=1) Princess (/wiki/Princess_lace) Renaissance (/wiki/Renaissance_lace) Battenberg (/wiki/Battenberg_lace) Romanian point (/wiki/Romanian_point_lace) Branscombe (/wiki/Branscombe_lace) Crocheted lace (/wiki/Crocheted_lace) Broomstick lace (/wiki/Broomstick_lace) Irish crochet (/wiki/Irish_lace) Hairpin (/wiki/Hairpin_lace) Filet crochet (/wiki/Filet_crochet) Orvieto lace (/w/index.php?title=Orvieto_lace&action=edit&redlink=1) Machine (/wiki/Lace_machine) -made lace Bobbinet (/wiki/Bobbinet) Leavers (/wiki/Leavers_machine) Pusher (/wiki/Pusher_machine) Barmen (/wiki/Barmen_lace_machine) Curtain Machine (/wiki/Nottingham_lace_curtain_machine) Chemical Raschel (/wiki/Warp_knitting) Stocking Frame (/wiki/Stocking_frame) Warp Knit (/wiki/Warp_knitting) Other handmade laces Metal laces (/wiki/Metal_lace) Lace knitting (/wiki/Lace_knitting) Macramé (/wiki/Macram%C3%A9) Tatting (/wiki/Tatting) Punto a groppo (/wiki/Punto_a_groppo) Sprang (/wiki/Sprang) Liturgical lace (/wiki/Liturgical_lace) Media related to Lace (https://commons.wikimedia.org/wiki/Category:Lace) at Wikimedia Commons Fashion portal (/wiki/Portal:Fashion) Clothing portal (/wiki/Portal:Clothing) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐9qxnq Cached time: 20240720182459 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1] CPU time usage: 0.213 seconds Real time usage: 0.321 seconds Preprocessor visited node count: 742/1000000 Post‐expand include size: 36593/2097152 bytes Template argument size: 926/2097152 bytes Highest expansion depth: 14/100 Expensive parser function count: 3/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 11917/5000000 bytes Lua time 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Costume and fashion in the 1970s In 1971 hotpants (/wiki/Hotpants) and bell-bottomed trousers were popular fashion trends Example of glam rock (/wiki/Glam_rock) costume worn by Roy Wood (/wiki/Roy_Wood) and Wizzard (/wiki/Wizzard) , early 1970s. A wrap dress Diane von Fürstenberg (/wiki/Diane_von_F%C3%BCrstenberg) designed in the 1970s Fashion in the 1970s was about individuality (/wiki/Individuality) . In the early 1970s, Vogue proclaimed "There are no rules in the fashion game now" [1] (#cite_note-1) due to overproduction (/wiki/Overproduction) flooding the market with cheap synthetic clothing. Common items included mini skirts (/wiki/Mini_skirt) , bell-bottoms (/wiki/Bell-bottoms) popularized by hippies (/wiki/Hippie) , vintage clothing (/wiki/Vintage_clothing) from the 1950s and earlier (/wiki/1945%E2%80%931960_in_Western_fashion) , and the androgynous (/wiki/Androgynous) glam rock (/wiki/Glam_rock) and disco (/wiki/Disco) styles that introduced platform shoes (/wiki/Platform_shoe) , bright colors, glitter, and satin. [2] (#cite_note-TroubledTimes70s-2) New technologies brought advances in production through mass production, higher efficiency, generating higher standards and uniformity. Generally the most famous silhouette of the mid and late 1970s for both genders was that of tight on top and loose on bottom. The 1970s also saw the birth of the indifferent, anti-conformist casual chic (/wiki/Casual_chic) approach to fashion, which consisted of sweaters, T-shirts, jeans and sneakers. [3] (#cite_note-3) One notable fashion designer to emerge into the spotlight during this time was Diane von Fürstenberg (/wiki/Diane_von_F%C3%BCrstenberg) , who popularized, among other things, the jersey (/wiki/Jersey_(clothing)) " wrap dress (/wiki/Wrap_dress) ". [4] (#cite_note-4) [5] (#cite_note-5) von Fürstenberg's wrap dress design, which was among the most popular fashion styles of the 1970s, would also be credited as a symbol of women's liberation (/wiki/Women%27s_liberation) . [6] (#cite_note-6) [7] (#cite_note-7) The French designer Yves Saint Laurent (/wiki/Yves_Saint_Laurent_(designer)) [8] (#cite_note-8) [9] (#cite_note-9) and the American designer Halston (/wiki/Halston) both observed and embraced the changes that were happening in the society, especially the huge growth of women's rights [10] (#cite_note-10) and the youth counterculture (/wiki/Counterculture) . They successfully adapted their design aesthetics to accommodate the changes that the market was aiming for. Top fashion models in the 1970s were Lauren Hutton (/wiki/Lauren_Hutton) , Margaux Hemingway (/wiki/Margaux_Hemingway) , Beverly Johnson (/wiki/Beverly_Johnson) , Gia Carangi (/wiki/Gia_Carangi) , Janice Dickinson (/wiki/Janice_Dickinson) , Patti Hansen (/wiki/Patti_Hansen) , Cheryl Tiegs (/wiki/Cheryl_Tiegs) , Jerry Hall (/wiki/Jerry_Hall) , and Iman (/wiki/Iman_(model)) . Women [ edit ] Early 1970s (1970–1972) [ edit ] Hippie look [ edit ] The 1970s began with a continuation of the hippie (/wiki/Hippie) look from the 1960s (/wiki/1960s_in_fashion) , giving a distinct ethnic flavor. [11] (#cite_note-11) Popular early 1970s fashions for women included Tie dye (/wiki/Tie_dye) shirts, Mexican 'peasant' blouses, [12] (#cite_note-Paperpast_Yearbook-12) folk-embroidered Hungarian blouses, ponchos, capes, [13] (#cite_note-1970sFashion-13) and military surplus clothing. [14] (#cite_note-HippiesEncyclopedia-14) Bottom attire for women during this time included bell-bottoms (/wiki/Bell-bottoms) , gauchos, [13] (#cite_note-1970sFashion-13) [15] (#cite_note-GauchosEncyclopedia-15) frayed jeans (/wiki/Jeans) , midi skirts (/wiki/Midi_skirt) , and ankle-length maxi dresses (/wiki/Maxi_dress) . Hippie clothing during this time was made in extremely bright colors, [16] (#cite_note-1970sWomen'sFashion-16) as well as Indian patterns, Native American patterns, and floral patterns. [17] (#cite_note-1970sWomensDresses-17) Women's hippie accessories of the early 1970s included chokers, dog collars, handcrafted neck ornaments, and accessories made from natural elements like wood, shells, stones, feathers, Indian beads and leather. All of these replaced standard jewelry. [13] (#cite_note-1970sFashion-13) Unisex hippie accessories included headbands, floppy hats, balumba balls, flowing scarves, [14] (#cite_note-HippiesEncyclopedia-14) Birkenstocks (/wiki/Birkenstock) , [18] (#cite_note-Birkies70sFashion-18) earth shoes (/wiki/Earth_shoe) , [19] (#cite_note-EarthShoes70sFashion-19) authentic beaded and fringed Native American buckskin moccasins, including knee-high boot versions, and sandals, including tire-soled versions and huaraches. The back-to-nature direction of the times meant that there was also a lot of going barefoot. Glamour [ edit ] By the early 1970s, miniskirts (/wiki/Miniskirts) had reached an all-time popularity. This young English woman is wearing a fringed suede miniskirt, 1971. Although the hippie look was widespread, it was not adopted by everyone. Many women still continued to dress up with more glamorous clothes, inspired by 1940s movie star glamour. Other women just adopted simple casual fashions, or combined new garments with carefully chosen secondhand or vintage clothing (/wiki/Vintage_clothing) from the 1930s, 1950s and 1960s. [20] (#cite_note-20) Glamorous women's accessories of the early 1970s included cloche hats (/wiki/Cloche_hat) or turbans (/wiki/Draped_turban) , pearl (/wiki/Pearl) earrings, necklaces, bracelets, feather boas, black-veiled hats, clogs (/wiki/Clogs) , wedgies, cork-soled platforms, and chunky high heels. [21] (#cite_note-21) [13] (#cite_note-1970sFashion-13) Golden chains, gold-button earrings and rhinestone clips started to become popular again in 1973 after several years of homemade jewelry. [22] (#cite_note-22) [13] (#cite_note-1970sFashion-13) [23] (#cite_note-Glamour_Jagger-23) Other early '70s trends [ edit ] More simple early 1970s trends for women included fitted blazers (coming in a multitude of fabrics along with wide lapels), long and short dresses, mini skirts, maxi evening gowns, hot pants (/wiki/Shorts) (extremely brief, tight-fitting shorts) paired with skin-tight T-shirts, [16] (#cite_note-1970sWomen'sFashion-16) his & hers outfits (matching outfits that were nearly identical to each other), and flared pants. Pastel colors were most commonly used for this style of clothing, such as mauve (/wiki/Mauve) , peach (/wiki/Peach_(color)) , apple green (/wiki/Chartreuse_(color)#Apple_Green) , pink, yellow, white, wheat (/wiki/Wheat_(color)) , camel (/wiki/Camel_(color)) , gray, and baby blue (/wiki/Baby_blue) . [13] (#cite_note-1970sFashion-13) Rust (/wiki/Rust_(color)) , tangerine (/wiki/Tangerine_(color)) , copper (/wiki/Copper_(color)) , forest green (/wiki/Forest_green) , and pistachio (/wiki/Chartreuse_(color)#Pistachio) became more popularized from 1973 onwards. [13] (#cite_note-1970sFashion-13) Sweaters were a huge phenomenon in the early 1970s, often outfits being judged entirely by the sweater. This fragmented into more styles, such as sweater coats, sweater dresses, floor-length sweaters, and even sweater suits. Many of them were trimmed with fur, especially faux. Chunky, shawl-collared, belted cardigans, often in brown and white, were also commonplace. [13] (#cite_note-1970sFashion-13) On the feet, platform shoes were widespread in a variety of styles, [24] (#cite_note-24) including clog-like forms [25] (#cite_note-25) and sandals, with relatively wide straps. The young paired these with colorful, often brightly striped knee-socks, [26] (#cite_note-26) some with separate toes like gloves for the feet, called toe socks. [27] (#cite_note-27) In the early 1970s boots were at the height of their popularity, continuing onward from the mid-1960s. Women had boots for every occasion, with a wide variety of styles being sold in stores for affordable prices. Despite the wide variety, the most popular boots were Go-go boots (/wiki/Go-go_boots) , crinkle boots (boots with a shiny wet look that was wrinkled), stretch boots, and granny boots (1920s style lace-up boots that ended just below the knees). [28] (#cite_note-1970sWomensBoots-28) Mid 1970s (1973–1976) [ edit ] African American (/wiki/African_American) couple, Michigan Avenue, Chicago, July 1975 Casual looks [ edit ] By 1974, the T-shirt was no longer considered underwear, and was by then made in elaborate designs such as slogans, sports teams, and other styles. [13] (#cite_note-1970sFashion-13) Around the same time the looser, more flowy shirts of the early 1970s had given way to fitted tops. By the mid-1970s, the hippie look had completely disappeared, although casual looks continued. [29] (#cite_note-29) In the mid-1970s women wore sweaters (/wiki/Sweater) , [30] (#cite_note-30) T-shirts (/wiki/T-shirt) , cardigans (/wiki/Cardigan_(sweater)) , kimono (/wiki/Kimono) , graphic T-shirts and sweaters, [16] (#cite_note-1970sWomen'sFashion-16) jeans, khakis, gauchos, [15] (#cite_note-GauchosEncyclopedia-15) workmen's clothes, and vintage clothing (/wiki/Vintage_clothing) . [13] (#cite_note-1970sFashion-13) A denim emphasis continued from the early seventies, particularly strong in 1973 to '75, with denim and denim-look fabrics of various intensities of indigo paired with blue jeans, usually flared, and denim skirts in below-knee lengths. [31] (#cite_note-31) In 1975, the slim-legged jean style known as the cigarette-leg was introduced, a style that would dominate the end of the decade. [32] (#cite_note-32) Around 1976, casual fashion adopted a Parisan peasant look. This included capes, turbans (/wiki/Turban) , puffy skirts and shirts with billowing sleeves. [13] (#cite_note-1970sFashion-13) In the mid-1970s, accessories were generally not worn, adopting a minimalistic approach to fashion akin to that of the 1950s. The most commonly seen form of jewelry was a simple, thin, unobtrusive gold neckchain, sometimes in silver, worn under the collar against the skin by both men and women throughout the decade but becoming really ubiquitous starting in the mid-seventies. White pukka shell necklaces were also worn by both sexes. Small leather shoulder bags were worn by women everywhere, and popular shoes included Mary Janes (/wiki/Mary_Janes) , knee-high boots (/wiki/Knee-high_boots) with rounded toes, including Dingo boots and Frye boots [33] (#cite_note-nytimes.com-33) (often with pants tucked in), [34] (#cite_note-34) platform shoes (/wiki/Platform_shoes) and sandals, wedge-heeled espadrilles that often had long cords to wrap around the ankle, [35] (#cite_note-35) Birkenstocks, [18] (#cite_note-Birkies70sFashion-18) Famolares, [36] (#cite_note-36) and loafers. [13] (#cite_note-1970sFashion-13) [16] (#cite_note-1970sWomen'sFashion-16) Despite the lack of accessories, the mood ring (/wiki/Mood_ring) was a big fad in the mid-1970s. [37] (#cite_note-MoodRings70sFashion-37) Active wear [ edit ] Clean-cut, all-American active wear for women became increasingly popular from 1975 onwards. The biggest phenomenon of this trend was the jumpsuit (/wiki/Jumpsuit) , popular from 1975 onwards. Jumpsuits were almost always flared in the legs, and sleeves varied from being completely sleeveless to having extremely long bell-sleeves. [13] (#cite_note-1970sFashion-13) Other sportswear trends included tracksuits (/wiki/Tracksuit) , tunic shirts, crop tops (/wiki/Crop_top) , tube tops (/wiki/Tube_top) , sweatshirts, hip-huggers (/wiki/Hip-huggers) , [38] (#cite_note-HipHuggersEncyclopedia-38) low rise pants (/wiki/Low_rise_jeans) , and leisure suits (/wiki/Leisure_suit) . [13] (#cite_note-1970sFashion-13) [16] (#cite_note-1970sWomen'sFashion-16) This continued into the 1980s. Accessories were less of an importance during this time, but two very desirable accessories included sneakers and tennis headbands (/wiki/Headband) . [16] (#cite_note-1970sWomen'sFashion-16) [38] (#cite_note-HipHuggersEncyclopedia-38) Tailored styles [ edit ] As the divorce rate rose and the marriage rate declined in the mid-70s, women were forced to work in order to support the nuclear family (/wiki/Nuclear_family) . The progressive addition of women to the work force altered shopping styles and fashion. Working women shopped on weekends and in the evenings. Feminized men's business suits such as tailored jackets, midi-skirts, and fitted blouses were their go-to choice as to "dress for success." [39] (#cite_note-39) A young woman wearing a wrap dress. Starting in 1975, women's semi-formal wear became more tailored and sharp. This included a lot of layering, with women wearing two blouses at once, multiple sweaters, pants underneath tunic (/wiki/Tunic) dresses, and jumpers (/wiki/Jumper_(dress)) worn over long, fitted dresses. The 1970s also featured some of the most scandalous dresses worn publicly in American history up to that point. [16] (#cite_note-1970sWomen'sFashion-16) Other clothes worn in this style include suede coats, peacoats (/wiki/Peacoat) , blazers (/wiki/Blazer) , cowl-neck sweaters, pencil skirts (/wiki/Pencil_skirt) , backless dresses, extremely low-cut dresses, palazzo pants (/wiki/Palazzo_pants) , [16] (#cite_note-1970sWomen'sFashion-16) tube dresses, [13] (#cite_note-1970sFashion-13) evening gowns, jacket dresses, [17] (#cite_note-1970sWomensDresses-17) and pinstriped pantsuits (/wiki/Pantsuit) . [13] (#cite_note-1970sFashion-13) [16] (#cite_note-1970sWomen'sFashion-16) Women's dresses in the mid-1970s were dominated by pastel colors (/wiki/Pastel_colors) , but Asian patterns were also common. [17] (#cite_note-1970sWomensDresses-17) Accessories for the more formal styles included high-heels (both low and high, mostly thick-heeled), turbans, and leather shoulder bags. [16] (#cite_note-1970sWomen'sFashion-16) Boots continued their popularity in the mid-1970s. This trend expanded to other styles, most notably the wedge heel (arguably the most popular women's shoe of the mid-1970s). Boots became rounder, chunkier, heavier, and thicker, and were more expensive than they were in the early 1970s. Popular boots of the mid-1970s included wedge boots, ankle boots (/wiki/Ankle_boot) , platform boots (/wiki/Platform_boot) , and cowboy boots (/wiki/Cowboy_boot) . [28] (#cite_note-1970sWomensBoots-28) The A/W Haute Couture Collection "Opium Collection" by the French designer Yves Saint Laurent was inspired by the Chinese culture and history. Disco look [ edit ] Swedish model Ulla Jones (/wiki/Ulla_Jones) dressed in a lurex (/wiki/Lurex_(yarn)) halter top and matching flared trousers The disco music (/wiki/Disco_music) genre spawned its own fashion craze in the mid- to late 1970s. Young people gathered in nightclubs dressed in new disco clothing that was designed to show off the body and shine under dance-floor lights. Disco fashion featured fancy clothes made from man-made materials. The most famous disco look for women was the jersey wrap dress (/wiki/Wrap_dress) , a knee-length dress with a cinched waist. It became an extremely popular item, as it flattered a number of different body types and sizes, and could be worn both to the office by day, and to nightclubs and discos by night. [40] (#cite_note-40) Disco fashion was generally inspired by clothing from the early 1960s. Disco clothes worn by women included tube tops, sequined halterneck (/wiki/Halterneck) shirts, blazers, spandex short shorts (/wiki/Shorts) , loose pants, form-fitting spandex (/wiki/Spandex) pants, maxi skirts and dresses with long thigh slits, jersey wrap dresses (/wiki/Wrap_dress) , and evening dresses (/wiki/Evening_gown) . [17] (#cite_note-1970sWomensDresses-17) Shoes ranged from knee-high boots to kitten heels, but the most commonly worn shoes were ones that had thick heels and were often made with transparent plastic. The Big Look or Soft Look [ edit ] The leading high-fashion trend of the mid-seventies, [41] (#cite_note-41) [42] (#cite_note-42) extending from 1973 and 1974 through the first half of 1978, was known as the Big Look or Soft Look, [43] (#cite_note-43) with big meaning voluminous. [44] (#cite_note-44) [45] (#cite_note-45) [46] (#cite_note-46) This was a loosening and increase in scale of the popular, casual peasant styles of the late sixties and early seventies [47] (#cite_note-47) [48] (#cite_note-48) [49] (#cite_note-49) and a reduction and elimination of internal structure like linings and padding to achieve what was known as an unconstructed look and feel. [50] (#cite_note-50) [51] (#cite_note-51) [52] (#cite_note-52) [53] (#cite_note-53) Introduced by designer Kenzo Takada (/wiki/Kenzo_Takada) in 1973, [54] (#cite_note-54) [55] (#cite_note-55) [56] (#cite_note-56) carried further by Karl Lagerfeld (/wiki/Karl_Lagerfeld) in 1974, [57] (#cite_note-57) [58] (#cite_note-58) [59] (#cite_note-59) adapted for the US [60] (#cite_note-60) by Geoffrey Beene (/wiki/Geoffrey_Beene) shortly thereafter, [61] (#cite_note-61) [62] (#cite_note-62) and endorsed in silhouette the same year by the most influential designer of the time, Yves Saint Laurent (/wiki/Yves_Saint_Laurent_(designer)) , [63] (#cite_note-63) [64] (#cite_note-64) [65] (#cite_note-65) it came to influence everyone [66] (#cite_note-66) from Calvin Klein (/wiki/Calvin_Klein) [67] (#cite_note-67) [68] (#cite_note-68) to Mary McFadden (/wiki/Mary_McFadden) [69] (#cite_note-69) to Givenchy (/wiki/Hubert_de_Givenchy) [70] (#cite_note-70) to Perry Ellis (/wiki/Perry_Ellis) , who was probably the look's biggest US exponent. [71] (#cite_note-71) [72] (#cite_note-72) The Big Look relied on loose, billowy, oversized shapes; [73] (#cite_note-73) [74] (#cite_note-74) [75] (#cite_note-75) [76] (#cite_note-76) comfortable, thin, gossamer-weight, [77] (#cite_note-77) natural-fiber [78] (#cite_note-78) [79] (#cite_note-79) fabrics like cotton gauze, crepe de chine, and challis, [80] (#cite_note-80) [81] (#cite_note-81) often left naturally wrinkled; [82] (#cite_note-82) [83] (#cite_note-83) a mostly neutral or earthtone, [84] (#cite_note-84) forest-tone, or wine-tone color palette, with prints small, muted, and often floral; [85] (#cite_note-85) [86] (#cite_note-86) layering; [87] (#cite_note-87) [88] (#cite_note-88) [89] (#cite_note-89) drawstrings, [90] (#cite_note-90) [91] (#cite_note-91) [92] (#cite_note-92) [93] (#cite_note-93) wrapping/tying, [94] (#cite_note-94) and rope-cords [95] (#cite_note-95) as opposed to hardware like buttons, zippers, and belts; [96] (#cite_note-96) capes, serapes, and shawls [97] (#cite_note-97) more than structured coats; [98] (#cite_note-98) [99] (#cite_note-99) [100] (#cite_note-100) [101] (#cite_note-101) [102] (#cite_note-102) oversized, unlined jackets and vests; [103] (#cite_note-103) [104] (#cite_note-104) [105] (#cite_note-105) extensive use of hoods [106] (#cite_note-106) [107] (#cite_note-107) and cowlnecks; [108] (#cite_note-108) [109] (#cite_note-109) full sleeve cuts like raglan, dolman, batwing, and bishop; [110] (#cite_note-110) [111] (#cite_note-111) big, rustic-textured sweaters; [112] (#cite_note-112) [113] (#cite_note-113) blouson tops; [114] (#cite_note-114) [115] (#cite_note-115) [116] (#cite_note-116) full, often ruffled blouses cut so large that they slid off the shoulder; [117] (#cite_note-117) [118] (#cite_note-118) [119] (#cite_note-119) [120] (#cite_note-120) camisoles; [121] (#cite_note-121) smock tops and smock dresses; [122] (#cite_note-122) [123] (#cite_note-123) [124] (#cite_note-124) bubble dresses or bag dresses; [125] (#cite_note-125) tent dresses; [126] (#cite_note-126) [127] (#cite_note-127) [128] (#cite_note-128) full sundresses; [129] (#cite_note-129) [130] (#cite_note-130) and mostly longer lengths in skirts, high-fashion versions generally ranging from mid-calf to ankle, [131] (#cite_note-131) [132] (#cite_note-132) though mini-tunics and mini-blousons were also part of the picture. [133] (#cite_note-133) [134] (#cite_note-134) [135] (#cite_note-135) [136] (#cite_note-136) [137] (#cite_note-137) Occasional slits or slashes allowed for some show of leg amid all the billowing fabric. [138] (#cite_note-138) Skirts were almost entirely dirndls, [139] (#cite_note-139) [140] (#cite_note-140) [141] (#cite_note-141) with tiered or flounced versions called gypsy skirts or peasant skirts particularly popular. [142] (#cite_note-142) [143] (#cite_note-143) [144] (#cite_note-144) Skirts were also sometimes layered, with, say, a white underskirt beneath a hiked-up, floral-print top skirt. [145] (#cite_note-145) [146] (#cite_note-146) [147] (#cite_note-147) [148] (#cite_note-148) Pant shapes varied from full dungarees [149] (#cite_note-149) to full culottes [150] (#cite_note-150) and gauchos [151] (#cite_note-151) to full shorts called paper bag shorts, but most were tapered from full, pleated or drawstring-closed waists to narrow ankles, [152] (#cite_note-152) a style called "pegged" at the time, [153] (#cite_note-153) sometimes cut too long so they bunched up at the ankle. [154] (#cite_note-154) [155] (#cite_note-155) Dhotis, zouaves, and harem pants were also frequently shown. [156] (#cite_note-156) [157] (#cite_note-157) [158] (#cite_note-158) Comfort and ease were watchwords during this period, [159] (#cite_note-159) [160] (#cite_note-160) [161] (#cite_note-161) reflected in the Big Look's ubiquitous rolled-up sleeves. [162] (#cite_note-162) [163] (#cite_note-163) [164] (#cite_note-164) Accessories worn with the Big Look were minimal, [165] (#cite_note-165) [166] (#cite_note-166) things like unobtrusive hemp-cord necklaces maybe strung with a very few earthy-looking beads, [167] (#cite_note-167) [168] (#cite_note-168) stickpins to hold layers of shawls together, [169] (#cite_note-169) [170] (#cite_note-170) and tasseled fiber cords worn instead of belts, the ends dangling over tunic hems and layers of skirts. [171] (#cite_note-171) When actual belts were worn, they tended to be in leather, narrow, and sometimes long enough to be double-wrapped. [172] (#cite_note-172) On the legs, you might find more of the kind of layering seen above, called the "layered leg": thick, warm tights, socks, stockings, and legwarmers in substantial knits in earthy colors for fall/winter, [173] (#cite_note-173) [174] (#cite_note-174) [175] (#cite_note-175) [176] (#cite_note-176) and perhaps white anklets and occasionally even layered cotton socks worn in spring/summer, even with sandals. [177] (#cite_note-177) [178] (#cite_note-178) [179] (#cite_note-179) Footwear was almost entirely either very bare sandals; [180] (#cite_note-180) [181] (#cite_note-181) [182] (#cite_note-182) [183] (#cite_note-183) rope-soled, canvas espadrilles, often wrapping around the ankle; [184] (#cite_note-184) [185] (#cite_note-185) [186] (#cite_note-186) or very full-shafted boots known as baggy boots or Cossack boots, [187] (#cite_note-187) [188] (#cite_note-188) [189] (#cite_note-189) [33] (#cite_note-nytimes.com-33) usually knee-high but in a range of heights from ankle to thigh, [190] (#cite_note-190) [191] (#cite_note-191) [192] (#cite_note-192) with the fullness intended to bunch up in horizontal wrinkles at the ankle for what was referred to as a "crushed" look. [193] (#cite_note-193) Heels, often stacked during this period, [194] (#cite_note-194) could be any height from flat to high, the shape ranging from wedges to blocks to more tapered, but never stilettos. [195] (#cite_note-195) [196] (#cite_note-196) Makeup and hairstyles tended to be natural-looking, [197] (#cite_note-197) [198] (#cite_note-198) [199] (#cite_note-199) though smoky blush was common. [200] (#cite_note-200) Hair combs and flowers tucked into the hair were widespread, [201] (#cite_note-201) [202] (#cite_note-202) but headwear was minimal, consisting mostly of the occasional squishy beret or knit cap worn during winter [203] (#cite_note-203) [204] (#cite_note-204) [205] (#cite_note-205) [206] (#cite_note-206) and a brief vogue for tilted straw boaters in early 1978. [207] (#cite_note-207) Though the thin fabrics, [208] (#cite_note-208) [209] (#cite_note-209) sliding-off-the-body volume, spaghetti straps, occasional straplessness, [210] (#cite_note-210) and slits/slashes in skirts and tops could reveal the body to some extent, [211] (#cite_note-211) the voluminous shapes and multiple layers of the Big Look resulted in some calling it shapeless, droopy, and rumpled. [212] (#cite_note-212) [213] (#cite_note-213) [214] (#cite_note-214) [215] (#cite_note-215) [216] (#cite_note-216) Others pointed out the impracticality of flyaway capes and shawls [217] (#cite_note-217) [218] (#cite_note-218) [219] (#cite_note-219) and considered the extensive fabric required for these styles extravagant. [220] (#cite_note-220) [221] (#cite_note-221) Nonetheless, its comfort and ease did suit women's lives [222] (#cite_note-222) [223] (#cite_note-223) [224] (#cite_note-224) [225] (#cite_note-225) and its rejection of man-focused coquetry reflected the powerful feminist influence in society at the time [226] (#cite_note-226) [227] (#cite_note-227) [228] (#cite_note-228) and resulted in the look dominating high fashion for several years [229] (#cite_note-229) [230] (#cite_note-230) and also influencing popular tastes, as it seemed an outgrowth of the moves toward natural fibers [231] (#cite_note-231) [232] (#cite_note-232) and comfort that were already widespread in society. [233] (#cite_note-233) [234] (#cite_note-234) [235] (#cite_note-235) Late 1970s (1977–1979) [ edit ] Relaxed look [ edit ] Two women in 1979 wear the trendy tube tops (/wiki/Tube_top) , while the woman on the far left is wearing a rayon strapless dress In 1977, mass-market fashion became more baggy as the Big Look that had been dominant in high fashion since 1974 filtered down to the public. This caused much controversy, as women with trim figures bemoaned not being able to flaunt them while heavier women complained the looser clothes made them look even larger. To make up for this, it became fashionable to show more skin. This resulted in shirts being unbuttoned, sleeves being rolled up, and tops being strapless, transparent, and lacy. Shiny satin and gold colors were also used to make up for the lack of tighter clothing. By 1977, pants were only flared slightly and sometimes not flared at all. [16] (#cite_note-1970sWomen'sFashion-16) Women's fashions in the late 1970s included cowl-neck shirts and sweaters, pantsuits (/wiki/Pantsuit) , leisure suits (/wiki/Leisure_suit) , tracksuits (/wiki/Tracksuit) , [13] (#cite_note-1970sFashion-13) sundresses (/wiki/Sundress) worn with tight T-shirts, [12] (#cite_note-Paperpast_Yearbook-12) strapless tops, lower-cut shirts, cardigans, [16] (#cite_note-1970sWomen'sFashion-16) velour shirts, tunics (/wiki/Tunic) , robes (/wiki/Robe) , crop tops, tube tops, embroidered vests and jeans, knee-length skirts, [17] (#cite_note-1970sWomensDresses-17) loose satin pants, [13] (#cite_note-1970sFashion-13) designer jeans, [236] (#cite_note-236) culottes, daisy dukes, and tennis shorts. [16] (#cite_note-1970sWomen'sFashion-16) This continued into the 1980s. Accessories included scarves, gold jewelry, flowers, ankle boots, 1940s style hats (often tilted), skinny and wide belts, boas, braceleted gloves, spike-heeled sandals, mules (/wiki/Mule_(footwear)) , ankle-strapped shoes, waist cinchers (/wiki/Waist_cincher) , and obi wraps. Color had almost completely faded from fashion in the late 1970s, with earthy tones like browns, light blues, tans, grays, whites, and blacks making a comeback. [13] (#cite_note-1970sFashion-13) [16] (#cite_note-1970sWomen'sFashion-16) The frenzy for boots had cooled down by the late 1970s, but they remained popular, especially in the winter. They became less flamboyant by that point in time, and they mostly came in black, brown, or burgundy (/wiki/Burgundy_(color)) . The most popular boots were either knee-high or reached the mid-calf, and were made in leather, suede, urethane, or rubber. The toes were rounded, and zippers were on the side. The heels were usually only 2–4 inches, and the heels were sometimes even flat. Women continued to wear wedge heels and ankle boots, as well as knee-high boots with thick kitten heels. [28] (#cite_note-1970sWomensBoots-28) In Pakistan (/wiki/Fashion_in_Pakistan) , Afghanistan and Iran, many liberal women wore short skirts, [237] (#cite_note-237) [238] (#cite_note-238) flower printed hippie (/wiki/Hippie) dresses, flared trousers, [239] (#cite_note-239) and went out in public without the hijab (/wiki/Hijab) . This changed following the military dictatorship in Pakistan, the mujahideen (/wiki/Mujahideen) government in Afghanistan, [a] (#cite_note-240) and Iranian revolution (/wiki/Iranian_revolution) of 1979, when traditional conservative attire including the abaya (/wiki/Abaya) , jilbab (/wiki/Jilbab) and niqab (/wiki/Niqab) made a comeback. [240] (#cite_note-241) [241] (#cite_note-242) [242] (#cite_note-243) One-piece swimsuits [ edit ] In 1977, American actress Farrah Fawcett (/wiki/Farrah_Fawcett) popularized the one-piece swimsuit (/wiki/Swimsuit) which in turn launched the trend for the maillot (/wiki/Maillot) . This was, when it resurged in the 1970s, a sexy, tight swimsuit, with deep neckline and high-cut legs, worn by young women and girls in lieu of the bikini, although it did not entirely replace the latter. This continued into the 1980s. The pantsuit [ edit ] By the late 1970s the pantsuit (/wiki/Pantsuit) had become acceptable business wear for executive women. This was due to the success of Yves Saint Laurent (/wiki/Yves_Saint_Laurent_(designer)) 's "Le smoking" tuxedo with silk lapels designed to allow any ash falling from cigarettes to slide off, keeping the jacket clean. [243] (#cite_note-244) Business Insider (/wiki/Business_Insider) pointed out that wearing the pantsuit was more of a political statement than a fashion one. "So, dressing in a YSL trouser suit declared the wearer was irreverent, daring, and on the cutting edge of fashion, whilst suggesting their alignment with burgeoning feminist politics – le smoking effectively demanded: 'If men can wear this, why can't I?'" With the increase of women entering the workface, they were in search for a new symbol that proved they were as serious and powerful as the men they shared elevators with. The only solution to convince male-dominated workspaces was to copy their tailored suits (/wiki/Suit_(clothing)) . The jacket could be either short and shapely or long and lean. Movies like Annie Hall (/wiki/Annie_Hall) fought gender ideals by portraying a woman who wore men's clothing on the daily basis. This movie took a big inspiration from the decade and because of its success, continues to influence fashion. Skirts, when worn, were often knee-length and could possibly have a front or side slit that put a subtle emphasis on the legs. To offset the more traditionally masculine look of "business suit style", women like Margot Kidder (/wiki/Margot_Kidder) in Superman (/wiki/Superman_(1978_film)) experimented with hats, high heels, ruffles that peaked out from the jacket and large jewelry to keep a confident, yet feminine, look intact. [244] (#cite_note-245) Designer jeans [ edit ] In 1978, the first designer jeans were introduced [245] (#cite_note-246) [246] (#cite_note-247) and immediately [247] (#cite_note-248) became popular, [248] (#cite_note-249) [249] (#cite_note-250) designers like Calvin Klein (/wiki/Calvin_Klein) , Gloria Vanderbilt (/wiki/Gloria_Vanderbilt) , and Fiorucci (/wiki/Fiorucci) advertising their name [250] (#cite_note-251) on the back of the fashionable cigarette-leg, usually dark blue denim jean of the time. [251] (#cite_note-252) [252] (#cite_note-253) In the US in 1978, they were often worn with hems rolled up to or just above the ankle to show off the popular Candie's (/wiki/Candie%27s) slides on the feet. [253] (#cite_note-254) "Baggies" (baggy jeans) [ edit ] From 1979 to 1981, a popular style was jeans with a high-ish waist and full cut through the hips and thighs that tapered to a narrow but not tight hem hitting at the ankle or just above, called "baggies." [254] (#cite_note-255) [255] (#cite_note-256) [256] (#cite_note-257) They were paired in the fall with rustic-looking sweaters with shoulders fashionably widened via single, top-of-the-sleeve tucks or pleats called "dimples" by their creator Perry Ellis (/wiki/Perry_Ellis) , [257] (#cite_note-258) and the shoes worn with them were often high-vamped pumps with low cone heels inspired by Maud Frizon (/wiki/Maud_Frizon) , [258] (#cite_note-259) jazz oxfords, [259] (#cite_note-260) or flat, lace-up ankle boots. Shoulder pads [ edit ] Styles became curvier for fall of 1978, with shoulder pads (/wiki/Shoulder_pads_(fashion)) , [260] (#cite_note-261) tighter skirts, and narrower waistlines. [261] (#cite_note-262) [262] (#cite_note-263) [263] (#cite_note-264) The silhouette that resulted was an inverted triangle. [264] (#cite_note-265) [265] (#cite_note-266) [266] (#cite_note-267) This change did not arise from women's demands, nor from what women on the street were wearing, the way miniskirts, [267] (#cite_note-268) [268] (#cite_note-269) [269] (#cite_note-270) [270] (#cite_note-271) jeans, [271] (#cite_note-272) [272] (#cite_note-273) pants, [273] (#cite_note-274) [274] (#cite_note-275) [275] (#cite_note-276) hippie clothing, [276] (#cite_note-277) [277] (#cite_note-278) office blazers, [278] (#cite_note-279) and more comfortable undergarments [279] (#cite_note-280) [280] (#cite_note-281) [281] (#cite_note-282) had in the 1960s and earlier '70s. [282] (#cite_note-283) [283] (#cite_note-284) [284] (#cite_note-285) Though decades later it would be claimed that the big shoulders of this period were part of an attempt by women to assert a "power" look as they worked their way up career ladders, big-shoulder looks did not come about because women were wanting to look more powerful for the boardroom; women already had appropriate but comfortable blazers for that. [285] (#cite_note-286) Big-shoulder looks didn't come from women on the street at all. The hugely shoulder-padded look came solely from designers, [286] (#cite_note-287) [287] (#cite_note-288) who united in showing the look in Fall 1978, [288] (#cite_note-289) a few presenting shoulders literally three feet wide, [289] (#cite_note-290) [290] (#cite_note-291) [291] (#cite_note-292) and there was strong resistance. [292] (#cite_note-293) [293] (#cite_note-294) [294] (#cite_note-295) Since the clothes were less comfortable and more restrictive than the clothes of the '70s [295] (#cite_note-296) [296] (#cite_note-297) and resembled too much the man-focused styles of the 1940s and '50s, [297] (#cite_note-298) [298] (#cite_note-299) [299] (#cite_note-300) this shoulder-padded look was initially a hard sell to the public, [300] (#cite_note-301) [301] (#cite_note-302) [302] (#cite_note-303) [303] (#cite_note-304) but some designers, notably Perry Ellis (/wiki/Perry_Ellis) , [304] (#cite_note-305) Norma Kamali (/wiki/Norma_Kamali) , [305] (#cite_note-306) Calvin Klein (/wiki/Calvin_Klein) , [306] (#cite_note-307) and Giorgio Armani (/wiki/Giorgio_Armani) , [307] (#cite_note-308) made it more appealing by keeping it comfortably wearable and just adding reasonably-proportioned shoulder pads to slightly slimmed-down versions of the easy clothes women had been wearing during the decade, [308] (#cite_note-309) and this approach was positively received by the general public. [309] (#cite_note-310) [310] (#cite_note-311) [311] (#cite_note-312) [312] (#cite_note-313) So many designers continued to present really huge shoulders into the eighties, however, [313] (#cite_note-314) [314] (#cite_note-315) that women were left with little option but to conform to it, which they did, [315] (#cite_note-316) so much so that big shoulder pads became common in and characteristic of the 1980s, [316] (#cite_note-317) seen on everyone from political leaders to actors in TV shows like Dynasty to your coworkers and family. At the end of the seventies, though, in 1978 and '79, much of the public still considered it strange, [317] (#cite_note-318) [318] (#cite_note-319) [319] (#cite_note-320) though they had gotten the message that it was to be the new look. [320] (#cite_note-321) [321] (#cite_note-322) Footwear worn with these styles initially, in 1978, continued the very bare, high-heeled sandal that had been popular throughout the mid-seventies, now with a slightly higher heel [322] (#cite_note-323) and in more dressed-up materials and colors like black and metallics. These often had ankle straps and the heel fell straight down in the back rather than being underslung. In 1979, the higher-vamped, vaguely 1950s-looking pump that would characterize the eighties would appear, often in bright colors and marked by the underslung cone heels introduced by Maud Frizon (/wiki/Maud_Frizon) . [323] (#cite_note-324) Open-toed pumps were a particular focus in 1979. [324] (#cite_note-325) After dominating fashion since the early 1960s, knee-high boots were no longer in with designers, [325] (#cite_note-326) replaced by boots that rose no higher than mid-calf and usually didn't rise above the ankle, resembling the demi-boots of the 1950s and barely distinguishable from the new high-vamp pumps. [326] (#cite_note-327) [327] (#cite_note-328) Another accessory trend that arrived with this new-old look was a determined attempt by designers to revive the wearing of dressy hats and gloves. [328] (#cite_note-329) [329] (#cite_note-330) For fall 1978, designers showed a plethora of mostly small forties- and fifties-looking hats, particularly small, tilted pillboxes (/wiki/Pillbox_hat) , often with veils, [330] (#cite_note-331) and the fashion press claimed that there was an increase in hat sales. [331] (#cite_note-332) [332] (#cite_note-333) Though hats and gloves of this type were only rarely seen among the public in 1978 and '79, mainly as an occasional accessory with a disco outfit, these revived hat and glove styles, like big shoulder pads, would continue to be shown during the following decade [333] (#cite_note-334) [334] (#cite_note-335) and would be taken up by people for whom hat- and glove-wearing was customary, particularly royalty. Men [ edit ] Early 1970s (1970–1972) [ edit ] Iranian prince Reza Pahlavi (/wiki/Reza_Pahlavi,_Crown_Prince_of_Iran) wearing Peacock Revolution-inspired velvet Nehru jacket (/wiki/Nehru_jacket) and geometric print scarf, 1973. Peacock revolution [ edit ] Main article: peacock revolution (/wiki/Peacock_revolution) With well-paid jobs and booming businesses, young men in the UK and America explored beyond the conventional social standards of dress. In the early 1970s, satin (/wiki/Satin) shirts in black, and grey were popular, and often featured lace ruffles (/wiki/Ruffle_(sewing)) on the cuffs and neckline. Due to the colorful nature of menswear, the time period was described as the Peacock Revolution (/wiki/Swinging_London) , and male trendsetters (/wiki/Trendsetting) were called " Dandies (/wiki/Dandies) ", " Dudes (/wiki/Dude) " or "Peacocks". [335] (#cite_note-336) Typical casual wear for this time included Nehru jackets (/wiki/Nehru_jacket) , ethnic inspired tunics (/wiki/Tunic) , turtlenecks (/wiki/Turtleneck) , candy striped (/wiki/Candy_stripe_fabric) blazers (/wiki/Blazer) , [336] (#cite_note-337) winklepicker (/wiki/Winklepicker) boots with Cuban heels (/wiki/High-heeled_footwear#Men_and_heels) , and hip-hugging elephant bell-bottoms. [337] (#cite_note-338) Accessories like color-matching nylon zippers and bright braided belts were common and also fitted in with the Peacock style. [338] (#cite_note-339) Suits were available in bright colors and unorthodox styles from 1970 to 1976, including shawl collars (/wiki/Shawl_collar) , three pieces (/wiki/Three_piece_suit) with peak lapels (/wiki/Peak_lapel) , and double breasted (/wiki/Double_breasted) suits made from corduroy (/wiki/Corduroy) , paisley (/wiki/Paisley_(design)) brocade (/wiki/Brocade) , wool blends with wide pinstripes (/wiki/Pinstripe) , or crushed velvet (/wiki/Crushed_velvet) in burgundy (/wiki/Burgundy_(color)) , teal (/wiki/Teal) , black, bottle green (/wiki/Bottle_green) , and peacock (/wiki/Peacock) blue (/wiki/Blue) . A rise of 4.4 percent in suit sales was reported by Forbes (/wiki/Forbes) magazine. Stylish continental suits by designers Lanvin (/wiki/Lanvin_(company)) , Yves Saint Laurent (/wiki/Yves_Saint_Laurent_(designer)) and Pierre Cardin (/wiki/Pierre_Cardin) were welcomed by young men while classic suits were loved by first-timers. [339] (#cite_note-340) Bright colors [ edit ] For the first time in decades, there was a significant shortage of raw materials and fabrics, including synthetics like vinyl (/wiki/PVC_clothing) and nylon (/wiki/Nylon) . As a result, everyday designers kept things simple. [13] (#cite_note-1970sFashion-13) The early 1970s were a continuation of late 1960s hippie fashion. For men this particularly meant bell bottom jeans (/wiki/Bell_bottoms) , tie dye (/wiki/Tie_dye) shirts, and military surplus clothing. [14] (#cite_note-HippiesEncyclopedia-14) Other early 1970s clothes for men included tweed sports jackets, khaki chinos (/wiki/Chinos) , chunky sweaters in cream, dark green, beige and sky blue, storm coats, tartan jackets, peacoats (/wiki/Peacoat) , flannel (/wiki/Flannel) shirts, pleated pants, baseball jackets (/wiki/Baseball_jacket) , [13] (#cite_note-1970sFashion-13) corduroy pants, crocheted waistcoats, striped pullover sweaters and sweater vests (/wiki/Sweater_vest) , tassels (/wiki/Tassel) , belted cardigans (/wiki/Cardigan_(sweater)) , [340] (#cite_note-1970s_Mens_Fashion-341) and hip-huggers (/wiki/Hip-huggers) . [38] (#cite_note-HipHuggersEncyclopedia-38) The most popular accessories of the early 1970s for men were homemade, with necklaces, headbands, and bracelets being made from all-natural materials such as wood, hemp, flowers, leather, shells, stones, and Indian beads. [13] (#cite_note-1970sFashion-13) Unisex hippie accessories included headbands, floppy hats, and flowing scarves. [14] (#cite_note-HippiesEncyclopedia-14) Men's footwear in the early 1970s included flip-flops (/wiki/Flip-flops) , oxfords (/wiki/Oxfords) , Birkenstocks, [18] (#cite_note-Birkies70sFashion-18) platform shoes, [341] (#cite_note-342) earth shoes (/wiki/Earth_shoe) , [19] (#cite_note-EarthShoes70sFashion-19) and cowboy boots. [340] (#cite_note-1970s_Mens_Fashion-341) Eastern fashion [ edit ] Mao Zedong (/wiki/Mao_Zedong) wearing gray Zhongshan suit (/wiki/Zhongshan_suit) , 1972. Due to the ongoing Cultural Revolution (/wiki/Cultural_Revolution) in Mainland China, Western style clothing was suppressed and both sexes wore grey Mao suits (/wiki/Mao_suit) until the early 1980s. [342] (#cite_note-343) The suit, unchanged since the 1940s, typically had four external pockets, five buttons, and a turn-down collar. [343] (#cite_note-344) In contrast to the Chinese mainland, many people in Taiwan (/wiki/Taiwan) and Hong Kong (/wiki/Hong_Kong) abandoned the Zhongshan suit during the early 1970s due to its association with Communism (/wiki/Communism) , leftists (/wiki/Leftists) , and anti-Westerners (/wiki/Anti-Western_sentiment) . [344] (#cite_note-345) In the UK, France, [345] (#cite_note-346) India [346] (#cite_note-347) and Australia, [347] (#cite_note-348) green, blue or beige safari jackets (/wiki/Safari_jacket) similar to the Mao suit became popular among liberal men due to their association with socialist values, travel to exotic locations, 1930s Hollywood, and Roger Moore (/wiki/Roger_Moore) 's portrayal of James Bond (/wiki/James_Bond) and Simon Templar (/wiki/Simon_Templar) . [348] (#cite_note-349) These were also worn in place of the business suit in decolonised (/wiki/Decolonised) African countries, including South Africa (/wiki/South_Africa) , Rhodesia (/wiki/Rhodesia) , and Mobutu (/wiki/Mobutu) 's Zaire (/wiki/Zaire) where it was known as an Abacost (/wiki/Abacost) [349] (#cite_note-350) and paired with a leopardskin fez (/wiki/Fez_(hat)) resembling an Astrakhan cap (/wiki/Astrakhan_cap) . [350] (#cite_note-351) Mid 1970s (1973–1976) [ edit ] Glam rock [ edit ] By 1973, androgynous glam rock (/wiki/Glam_rock) fashion had gone mainstream for young British [351] (#cite_note-352) people of both sexes. These included embroidered Western shirts (/wiki/Western_shirt) , velvet (/wiki/Velvet) sports coats, Royal Stewart tartan (/wiki/Royal_Stewart_tartan) as worn by the Bay City Rollers (/wiki/Bay_City_Rollers) , red or blue shawl collar (/wiki/Shawl_collar) tuxedo (/wiki/Tuxedo) jackets, frilly shirts, high necked nehru jackets (/wiki/Nehru_jacket) , synthetic fabrics like satin (/wiki/Satin) , wide kipper ties (/wiki/Kipper_tie) , black or tan leather jackets (/wiki/Leather_jacket) , silk scarfs (/wiki/Scarf) or ascots (/wiki/Ascot_tie) , shawl collar (/wiki/Shawl_collar) sweaters, satin shirts with oversized collars, drainpipe trousers (/wiki/Drainpipe_trousers) as worn by Mud (/wiki/Mud_(band)) , and platform shoes (/wiki/Platform_shoes) of the type favored by Slade (/wiki/Slade) , Kiss (/wiki/Kiss_(band)) , Alvin Stardust (/wiki/Alvin_Stardust) , Gary Glitter (/wiki/Gary_Glitter) , David Bowie (/wiki/David_Bowie) , and Sweet (/wiki/The_Sweet) . [352] (#cite_note-353) [353] (#cite_note-354) Unisex men's and women's outfits with few differences often came together in matching sets, and popular colors included cream, burgundy, brown, and orange. [13] (#cite_note-1970sFashion-13) Informal attire [ edit ] Mid-70s Western-inspired outifts worn by country music (/wiki/Country_music) group Asleep at the Wheel (/wiki/Asleep_at_the_Wheel) . Fashion in the mid-1970s was generally informal and laid back for men in America. Most men simply wore jeans (/wiki/Jeans) , sweaters (/wiki/Sweater) , and T-shirts (/wiki/T-shirt) , which by then were being made with more elaborate designs. Men continued to wear flannel, and the leisure suit (/wiki/Leisure_suit) became increasingly popular from 1975 onwards, often worn with gold medallions (/wiki/Medallion) and oxford shoes (/wiki/Oxford_shoes) . Vintage clothing (/wiki/Vintage_clothing) , khaki chinos (/wiki/Chinos) , workmen's clothes, sweatshirts, leather coats, and all-denim outfits were also desired among young men. [13] (#cite_note-1970sFashion-13) Other trends include printed shirts, zip-up cardigans (/wiki/Cardigan_(sweater)) , western shirts (/wiki/Western_shirt) marketed to capitalise on the nostalgia for 1950s fashion (/wiki/1950s_fashion) , Birkenstocks, [18] (#cite_note-Birkies70sFashion-18) mood rings (/wiki/Mood_ring) , [37] (#cite_note-MoodRings70sFashion-37) and raincoats (/wiki/Raincoat) . [340] (#cite_note-1970s_Mens_Fashion-341) Many of the printed shirts worn from circa 1972 to 1975 were in a silky nylon with a slightly glossy finish called Qiana, [354] (#cite_note-355) made in button-front styles with medium-wide collars and in a variety of prints – photographic prints, artwork prints, etc. [355] (#cite_note-356) Decades later, these Qiana shirts would be referred to as "disco shirts," but they were not called that at the time, as they were worn almost everywhere. They accompanied both casual styles like jeans and corduroys and dressier slacks and leisure suits, usually tieless and with the top couple of buttons left open. Around 1975, American suits started to resemble the slimmer European suit. This new model, named the quasi-European suit, featured padded shoulders, higher arm holes, a smaller waist, open patch pockets, and a small flare to the pants and jacket. [13] (#cite_note-1970sFashion-13) In 1976, it became fashionable for men to wear velvet tuxedo jackets with more casual pants to formal events, and vests came back into vogue. It was this year that men's pants started to feature smaller flares or no flares at all. [13] (#cite_note-1970sFashion-13) This continued into the 1980s. In Brezhnev (/wiki/Leonid_Brezhnev) 's Russia (/wiki/Fashion_in_Russia) , used Western clothing, especially sheepskin (/wiki/Sheepskin) coats and flared trousers (/wiki/Flared_trousers) , became readily available due to the détente (/wiki/D%C3%A9tente) . [356] (#cite_note-357) Previously, jeans (/wiki/Jeans) had to be imported on the black market. [357] (#cite_note-358) Politburo (/wiki/Politburo) members continued to wear the black, grey or brown suits and fur lined overcoats of the 1960s, with grey Astrakhan caps (/wiki/Astrakhan_cap) . [358] (#cite_note-359) The high-fashion Soft Look [ edit ] The Big Look/Soft Look that was high fashion in womenswear from 1973 to 1978 also extended to menswear, [359] (#cite_note-360) [360] (#cite_note-361) [361] (#cite_note-362) [362] (#cite_note-363) [363] (#cite_note-364) spearheaded by Giorgio Armani (/wiki/Giorgio_Armani) in 1976, who followed womenswear's lead and eliminated the lining and padding from his men's jackets, suits, and trousers, cutting them in natural fibers with enough ease that sleeves and even trouser hems could be easily rolled or pushed up and collars could be turned up. [364] (#cite_note-365) Collars, lapels, and ties were narrow, [365] (#cite_note-366) [366] (#cite_note-367) the tie, when worn, often not pulled up high but knotted low to allow for an easy, open neck. [367] (#cite_note-368) Trousers were straight-legged, sometimes even tapered, and often with soft pleats. [368] (#cite_note-369) [369] (#cite_note-370) Band-collared shirts were often worn with the look. This style remained dominant in high-fashion menswear through 1978 [370] (#cite_note-371) [371] (#cite_note-372) and then menswear again followed womenswear's lead and adopted the new big-shoulder (/wiki/Shoulder_pads_(fashion)) looks for 1979. The Soft Look's pushed-up jacket sleeves and turned-up collars, though, would continue into the 1980s in bigger-shouldered, more colorful form. Late 1970s (1977–1979) [ edit ] Flared jeans (/wiki/Flared_jeans) and trousers were popular with both sexes as can be seen at this East German (/wiki/East_Germany) disco party in 1977. In the socialist (/wiki/Socialism) part of Germany (until 1990), the government regarded western influences on cultural life of their population (/wiki/East_Germany#Culture) very critical, but factually tolerated them in many fields. Sportswear [ edit ] By the late 1970s, most men and women were wearing sports clothing as everyday apparel. This was primarily based on tracksuits (/wiki/Tracksuit) , jumpsuits (/wiki/Jumpsuit) , velour or terry cloth shirts (often striped and low-cut), [13] (#cite_note-1970sFashion-13) sweaters, cardigans (/wiki/Cardigan_(sweater)) , sweatshirts, puffer vests, [340] (#cite_note-1970s_Mens_Fashion-341) flare jeans (/wiki/Flare_jeans) , [13] (#cite_note-1970sFashion-13) straight-leg jeans, and collared shirts, both long sleeve and short sleeve. Around this time it also became fashionable for men to leave their shirts untucked. [340] (#cite_note-1970s_Mens_Fashion-341) This continued into the 1980s. During the late '70s, long and popped collars became a staple part of men's fashion. Late 1970s accessories included low-top sneakers, tennis headbands (/wiki/Headband) , [340] (#cite_note-1970s_Mens_Fashion-341) puka shell necklaces, and wristbands. Disco style [ edit ] From 1977 to 1979, menswear became affected by the disco style. Men began to wear three-piece suits (which became available in a variety of colours including powder blue (/wiki/Powder_blue) , beige, white as worn by John Travolta (/wiki/John_Travolta) in Saturday Night Fever (/wiki/Saturday_Night_Fever) , brown polyester, and shiny silver sharkskin (/wiki/Sharkskin) ) which were characterized by wide lapels, wide-legged or flared (/wiki/Bell-bottoms) trousers, and high-rise waistcoats (US vests). [372] (#cite_note-373) Influenced by the popularity of aviator sunglasses in disco, many wore glasses in the shape of aviators but with clear prescription lenses. [373] (#cite_note-374) Neckties became wider and bolder (/wiki/Kipper_tie) , and shirt collars became long and pointed. [374] (#cite_note-375) A couple at prom in late 1970s: Powder Tuxedo (/wiki/Tuxedo) and sleeved dress. Big shoulders [ edit ] Starting with a few designers in 1978 [375] (#cite_note-376) [376] (#cite_note-377) and becoming the main trend in 1979, high-fashion menswear designers at the end of the seventies adopted the big shoulder pads (/wiki/Shoulder_pads_(fashion)) that had debuted in womenswear in 1978, [377] (#cite_note-378) showing exaggeratedly padded shoulders that tapered to low closures [378] (#cite_note-379) [379] (#cite_note-380) at narrow, often ventless hips [380] (#cite_note-381) [381] (#cite_note-382) in jackets [382] (#cite_note-383) and suits, along with trousers that were straight-legged or tapered to narrow ankles. Jackets were also sometimes presented short and boxy like spencers or bellhop jackets. [383] (#cite_note-384) Unlike in womenswear, the exaggerated shoulders didn't appear in shirts but only in jackets and coats, with avant-garde designers like Thierry Mugler (/wiki/Thierry_Mugler) also presenting an occasional retro-futuristic (like something from 1950s sci-fi), outer space-looking jumpsuit with big shoulders, often marked with trapunto stitching, a style seen only on the most avant-garde. Lapels and ties for these new jacket styles were initially mostly narrow, said to help emphasize the increased shoulder width, [384] (#cite_note-385) but the most influential menswear designer of the time, Giorgio Armani (/wiki/Giorgio_Armani) , relatively quickly widened his lapels and ties – not as wide as in the early seventies, though, more like the 1940s. [385] (#cite_note-386) [386] (#cite_note-387) As the 1970s became the 1980s, both narrow and wider 1940s-width lapels and ties could be seen simultaneously. In 1979, though, these big-shouldered styles were just starting to be seen and wouldn't yet be common except among the avant-garde. Youth fashion [ edit ] Mods [ edit ] During the early 1970s, the Northern soul (/wiki/Northern_soul) and suedehead (/wiki/Suedehead) subcultures emerged in response to the psychedelic rock (/wiki/Psychedelic_rock) , Bohemian and hippie (/wiki/Hippie) influences on the mainstream peacock mod subculture (/wiki/Mod_subculture) . Seeking a return to the music and fashions of the mid and late 1960s, members of these British subcultures wore Ben Sherman (/wiki/Ben_Sherman) shirts, slim fit pants (/wiki/Slim_fit_pants) , tank top sweaters (/wiki/Tank_top_sweater) , vintage striped boating blazers (/wiki/Boating_blazers) , basket weave brogue shoes (/wiki/Brogue_shoes) , black leather driving gloves, pork pie hats (/wiki/Pork_pie_hat) , Irish walking hats (/wiki/Irish_walking_hat) , and loose fitting Oxford bags (/wiki/Oxford_bags) for dancing. [387] (#cite_note-388) Secondhand mod clothing was also worn by many early garage punk (/wiki/Garage_punk) and protopunk (/wiki/Protopunk) bands from the mid-1970s onwards, especially the Flamin Groovies (/wiki/Flamin_Groovies) and Television (/wiki/Television_(band)) due to its cheapness and wide availability. The release of the cult film Quadrophenia (/wiki/Quadrophenia_(film)) in 1978 sparked a large scale Mod revival (/wiki/Mod_revival) among a younger generation of Lambretta (/wiki/Lambretta) and Vespa (/wiki/Vespa) scooter (/wiki/Scooter_(motorcycle)) enthusiasts influenced by punk rock (/wiki/Punk_rock) and new wave music (/wiki/New_wave_music) . [388] (#cite_note-389) Teddy boys [ edit ] Typical mid to late 1970s Ted gear, as worn by Shakin' Stevens (/wiki/Shakin%27_Stevens) . Due to a resurgence in nostalgia for the 1950s, the Teddy boy (/wiki/Teddy_boy) subculture made a comeback in the UK during the early 1970s. A similar rockabilly (/wiki/Rockabilly) subculture known as Raggare (/wiki/Raggare) underwent a revival in Sweden and Germany at the same time. Brothel creepers (/wiki/Brothel_creepers) , drainpipe trousers (/wiki/Drainpipe_trousers) , bolo ties (/wiki/Bolo_tie) and drape jackets were popular, typically with contrasting velvet (/wiki/Velvet) collars and cuffs. [389] (#cite_note-390) Influenced by glam rock (/wiki/Glam_rock) bands like Showaddywaddy (/wiki/Showaddywaddy) , the Teds of the 1970s wore bright colors like electric blue (/wiki/Electric_blue_(color)) , leopardskin or brocade waistcoats (/wiki/Waistcoat) , and styled their hair with hair spray (/wiki/Hair_spray) rather than brylcreem (/wiki/Brylcreem) . [390] (#cite_note-391) In the late 1970s the Teds became the arch enemies of the punk subculture and Mod revivalists. Hippies [ edit ] British rock band Killing Floor (/wiki/Killing_Floor_(British_band)) , 1971. One of the most ubiquitous subcultures of the early and mid 1970s were the hippies (/wiki/Hippie) . Typically middle class youths from Britain, America and New Zealand, these practitioners of free love favored a unisex look with long hair, tie dye (/wiki/Tie_dye) and flower power (/wiki/Flower_power) motifs, Bob Dylan caps (/wiki/Bob_Dylan_cap) , kurtas (/wiki/Kurta) , hemp waistcoats, baja jackets (/wiki/Baja_jacket) , bell bottoms (/wiki/Bell_bottoms) , sandals, and maxi skirts for the girls. [391] (#cite_note-392) Due to the United States' active involvement in the Vietnam War (/wiki/Vietnam_War) from 1954 to 1975, American teenagers wanted to make an antiwar counterculture (/wiki/Counterculture) statement through the way they dressed. Old military uniforms and washed off navy bell-bottoms were commonly purchased from secondhand stores, and then embellished with floral embroideries and brightly colored peace symbol patches at home. [392] (#cite_note-393) In reaction to the conservative ivy league fashions (/wiki/Ivy_league_fashion) favored by their parents, American hippies of both sexes rejected designer brands in favor of a unisex style (/wiki/Unisex_clothing) , often making use of corduroy (/wiki/Corduroy) , hemp (/wiki/Hemp) , and vintage clothing (/wiki/Vintage_clothing) from charity shops (/wiki/Thrift_store_chic) . [393] (#cite_note-394) Although glam rock (/wiki/Glam_rock) had largely supplanted the hippie movement in urban areas during the mid to late 70s, offshoots such as the New Age travellers (/wiki/New_Age_travellers) , Freak scene (/wiki/Freak_scene) , Nambassa (/wiki/Nambassa) housetruckers (/wiki/Housetrucker) [394] (#cite_note-395) and surfers (/wiki/Surfer) continued until the 1990s. Heavy metal [ edit ] During the early and mid 1970s members of the hard rock (/wiki/Hard_rock) and heavy metal subculture (/wiki/Heavy_metal_subculture) favored typical hippie (/wiki/Hippie) fashions like earth tones, tie dye (/wiki/Tie_dye) T-shirts, and flared trousers (/wiki/Flared_trousers) of the type worn on stage by Jethro Tull (/wiki/Jethro_Tull_(band)) or Led Zeppelin (/wiki/Led_Zeppelin) . This changed later in the decade, when many fans of Judas Priest (/wiki/Judas_Priest) , AC/DC (/wiki/AC/DC) and Meat Loaf (/wiki/Meat_Loaf) began imitating the clothing of greasers (/wiki/Greaser_(subculture)) , outlaw bikers (/wiki/Outlaw_biker) , punk rockers (/wiki/Punk_rock) and leathermen (/wiki/Leather_subculture) due to the association of such fashions with toughness. [395] (#cite_note-396) Typical heavy metal fashions (/wiki/Heavy_metal_fashion) in the UK, US and Australia included faded jeans, leather battle jackets (/wiki/Battle_jacket) , combat boots (/wiki/Combat_boot) , studded belts, black leather jackets (/wiki/Leather_jacket) [396] (#cite_note-397) like the Schott Perfecto (/wiki/Schott_Perfecto) , and iron crosses (/wiki/Iron_cross) frequently pilfered from their father's war souvenirs. Beards, moustaches and shoulder length hair were popular among men, while female metal fans sometimes imitated the brightly dyed, teased and backcombed (/wiki/Backcombed) punk hair of the late 1970s. Black power [ edit ] Urban African American (/wiki/African_American) youths frequently imitated the paramilitary (/wiki/Paramilitary) uniforms of the Fruit of Islam (/wiki/Fruit_of_Islam) , anti-colonialist African insurgents, and early 1970s black power (/wiki/Black_power) groups like the Black Panthers (/wiki/Black_Panthers) . [397] (#cite_note-398) [398] (#cite_note-399) The Panthers' French counterparts called themselves the Del Vikings (/wiki/Del_Vikings) and Black Dragons (/wiki/Black_Dragons) , listened to rockabilly (/wiki/Rockabilly) and punk rock (/wiki/Punk_rock) , and fought against neonazi (/wiki/Neonazi) skinheads (/wiki/Skinhead) during the late 70s and early 80s. [399] (#cite_note-400) Typical clothing included black leather jackets (/wiki/Leather_jacket) , vests, black driving gloves, [400] (#cite_note-401) leather peaked caps (/wiki/Peaked_cap) embellished with chains and metal studs, African folk costume (/wiki/Folk_costume) like the fez (/wiki/Fez_(hat)) or dashiki (/wiki/Dashiki) , traditional African colors like black, red, yellow or green, Ancient Egyptian (/wiki/Ancient_Egypt) jewelry such as the Ankh (/wiki/Ankh) , gold chains, and railroad stripe (/wiki/Railroad_stripe) pants for women. [401] (#cite_note-402) Due to the poverty in the ghetto, black children often wore secondhand clothing that was too big or too small, inspiring the baggy pants (/wiki/Baggy_pants) worn as hip-hop fashion (/wiki/Hip-hop_fashion) during the 1980s and 1990s. In the UK, US and Jamaica Afro hair (/wiki/Afro_hair) [402] (#cite_note-403) and dreadlocks (/wiki/Dreadlocks) became popular from 1972 to 1976 among Motown (/wiki/Motown) , soul music (/wiki/Soul_music) and reggae (/wiki/Reggae) fans, as a rejection of the straightened hairstyles associated with white culture. [403] (#cite_note-404) Cholos [ edit ] Three Los Angeles Chicanos in 1974. Following the recession of 1973 (/wiki/Recession_of_1973) , the zoot suited (/wiki/Zoot_suit) pachuco (/wiki/Pachuco) look declined due to its association with comedic Blaxploitation (/wiki/Blaxploitation) pimps. [404] (#cite_note-405) Instead, working class Mexican youths began dressing in a more casual style inspired by the clothing of prison gangs, left wing counterculture (/wiki/Counterculture) groups like the Brown berets (/wiki/Brown_berets) , [405] (#cite_note-406) the antiwar movement (/wiki/Antiwar_movement) , [406] (#cite_note-407) and the 1960s greaser subculture (/wiki/Greaser_subculture) . White T-shirts, winklepickers (/wiki/Winklepicker) , double denim " Texan tuxedos (/wiki/Texan_tuxedo) ," ringer Tees, plaid shirts, Aviators, black wool tuques (/wiki/Tuque) , brown berets (/wiki/Beret) , [407] (#cite_note-408) green military surplus (/wiki/Military_surplus) field jackets, sheepskin coats, Castro hats, untucked white shirts, [408] (#cite_note-409) and khaki (/wiki/Khaki) Dickies (/wiki/Dickies) pants were commonly worn by these cholos (/wiki/Cholo) and chicanos (/wiki/Chicano) , together with slicked-back pompadour hairstyles (/wiki/Pompadour_hairstyle) and large sideburns (/wiki/Sideburns) . Punks [ edit ] Punk rock (/wiki/Punk_rock) was a musical genre that greatly influenced fashion in the late 1970s. A great deal of punk fashion from the 1970s was based on the designs of Vivienne Westwood (/wiki/Vivienne_Westwood) and her partner Malcolm McLaren (/wiki/Malcolm_McLaren) , McLaren opened a stall at the back of vintage American clothing store, which taken over 430 King's Road and called it 'Let it Rock'. By 1974, 430 had renamed the store, which became famous as 'SEX'. McLaren described SEX as 'a haven phenomenon known as punk rock.' [409] (#cite_note-Wilcox_12–13-410) Punk emerged in London, and spread into the United States. A complex amalgam of various stylistic influences, Punk had its roots in the streets of London and the music scene of New York. [409] (#cite_note-Wilcox_12–13-410) Street punk fashion (/wiki/Punk_fashion) generally consisted of ripped clothes, black turtlenecks (/wiki/Turtleneck) , drainpipe jeans (/wiki/Drainpipe_jeans) , tight leather pants, leather jackets (often embellished with chains, spikes, studs, and paint), jackets and shirts with taboo images or messages, dog collars, safety pins (/wiki/Safety_pin) , kilts (/wiki/Kilt) , and Doc Martens (/wiki/Doc_Martens) . [410] (#cite_note-411) A tamer, less threatening version of the Punk style called "New Wave", which featured jagged hems on clothing and more elaborate embroidery went mainstream in the early 1980s. [411] (#cite_note-70sPunk-412) 1970s beauty trends [ edit ] Women's hairstyles [ edit ] In the 1970s, women's hair was usually worn long (/wiki/Long_hair) with a centre parting Throughout much of the decade, women and teenage girls wore their hair long, with a centre or side parting, which was a style carried over from the late 1960s. Other hairstyles of the early to mid-1970s included the wavy "gypsy" cut, the layered shag (/wiki/Shag_(hairstyle)) , and the "flicked" style, popularly referred to as "wings", in which the hair was flicked into resembling small wings at the temples. This look was popularised by the stars of the television series Charlie's Angels (/wiki/Charlie%27s_Angels) . Blonde-streaked or "frosted" hair was also popular. In 1977, punk singer Debbie Harry (/wiki/Debbie_Harry) of Blondie (/wiki/Blondie_(band)) sparked a new trend with her shoulder-length, dyed platinum blonde (/wiki/Platinum_blond) hair worn with a long fringe (/wiki/Fringe_(hair)) (bangs). In the 1970s, making one of the popular hairstyles for a woman didn't take a lot of time. These hairstyles, including Afro (/wiki/Afro) hairstyle, Shaggy Hairdo and Feathered hair (/wiki/Feathered_hair) (then known as " Farrah Fawcett (/wiki/Farrah_Fawcett) hairstyle") were said to be perfect when you're on-the-go and would still keep your expressive style in-check. [412] (#cite_note-buzzle.com-413) For black people (/wiki/Black_people) in the United States and elsewhere, the afro (/wiki/Afro) was worn by both sexes throughout the decade. As the Afro entered the mainstream, Afro-enhancing products and Afro wigs emerged in the African-American beauty industry. [413] (#cite_note-:0-414) These wigs were created and advertised as a bolder look that could conveniently be removed and put on for a night out. [413] (#cite_note-:0-414) For Black women, it became a staple in disco (/wiki/Disco) , with disco divas like Diana Ross (/wiki/Diana_Ross) and Gloria Gaynor (/wiki/Gloria_Gaynor) adopting it in the 1970s. Afros were also occasionally sported by Whites (/wiki/White_people) , especially Jewish Americans (/wiki/Jewish_American) [414] (#cite_note-415) as an alternative to the uniform long, straight hair which was a fashion mainstay until the arrival of punk and the "disco look" when hair became shorter and centre partings were no longer the mode. The most iconic women's hairstyle of the 1970s is arguably the Farrah Fawcett hairstyle (/wiki/Feathered_hair) . Popularized in 1976, the hairstyle was heavily imitated by many American women and girls. It incorporated waves, curls, and layers. The style mostly worn with bangs, but could also be worn with a side part. To make it even more stylish, women and girls would frost their hair with blonde streaks. [415] (#cite_note-416) Men's hairstyles [ edit ] Steve McQueen (/wiki/Steve_McQueen) with sideburns (/wiki/Sideburns) , 1972. Footballer George Best (/wiki/George_Best) wore long hair in 1976. Continuing on from the 1960s, the ducktail (/wiki/Ducktail) and Pompadour hairstyle (/wiki/Pompadour_(hairstyle)) (then known as the " Elvis Presley (/wiki/Elvis_Presley) hairstyle") were popular among young Italian-American (/wiki/Italian-American) and Mexican-American (/wiki/Mexican-American) men in big cities like New York. Large quantities of grease or brylcreem (/wiki/Brylcreem) was normally used to keep the hair in place. The early and mid 1970s generally featured longer hair on men, as way of rebelling against the social norms of years past. [416] (#cite_note-417) Sideburns (/wiki/Sideburns) were also worn around the same time. Some of the most popular hairstyles for men include "Long and Luscious" hairstyle, mod haircut (/wiki/Mod_haircut) , and the " buzzcut (/wiki/Buzzcut) " hairstyle popularised by action heroes like Steve McQueen (/wiki/Steve_McQueen) . In the late 1970s, men went for the chop, ranging from crew cuts (/wiki/Crew_cut) , to buzz cuts, to a shag. This was mainly done for an athletic look, and sideburns and facial hair went out of style. Makeup and cosmetics [ edit ] Main article: Cosmetics in the 1970s (/wiki/Cosmetics_in_the_1970s) Actress Camille Keaton (/wiki/Camille_Keaton) in 1972. Throughout most of the decade, women preferred light, natural-looking make-up for the daytime. Cosmetics (/wiki/Cosmetics) in the 1970s reflected the contradictory roles ascribed for the modern woman. [417] (#cite_note-p147-48-418) For the first time since 1900, make-up was chosen situationally, rather than in response to monolithic trends. [417] (#cite_note-p147-48-418) The era's two primary visions were the daytime "natural look" presented by American designers and Cosmopolitan (/wiki/Cosmopolitan_(magazine)) magazine, and the evening aesthetic of sexualized glamour presented by European designers and fashion photographers. [417] (#cite_note-p147-48-418) In the periphery, punk and glam were also influential. The struggling cosmetics industry attempted to make a comeback, using new marketing and manufacturing practices. Image gallery [ edit ] Images representing the fashion trends of the 1970s. The early 1970s' fashions were a continuation of the hippie (/wiki/Hippie) look from the late 1960s. Woman in miniskirt (/wiki/Miniskirt) , 1970 A West German school girl with Schultüte (/wiki/Schult%C3%BCte) in 1970, with a ' hippyish (/wiki/Hippy) ' outfit on. Swedish model Efva Attling (/wiki/Efva_Attling) in a "midi" dress, Kings Road (/wiki/Kings_Road) , London, 1971. Fashion models (/wiki/Model_(person)) in Leipzig (/wiki/Leipzig) , GDR (/wiki/GDR) , 1972. One of the girls is modelling a "maxi" dress. Siouxsie Sioux (/wiki/Siouxsie_Sioux) of the English punk group Siouxsie and the Banshees (/wiki/Siouxsie_and_the_Banshees) . David Bowie (/wiki/David_Bowie) in the early 1970s. American First Lady Pat Nixon (/wiki/Pat_Nixon) wears a shirt with the wide collar that was popular until the final years of the decade. Girl in 1973 with a "flicked" hairstyle. Los Angeles high school students, 1973. The tousled, blond surfer hair (/wiki/Surfer_hair) was popular for young men in southern California. Singer Billy Preston (/wiki/Billy_Preston) in 1974 wearing an Afro (/wiki/Afro) hairstyle. American casual attire, 1974. British girls in 1975 in flared jeans British singer Rod Stewart (/wiki/Rod_Stewart) , 1976. English girl in the mid-1970s wearing a wide-sleeved shirt, belted at the waist. Two punks (/wiki/Punk_subculture) from the late 1970s Debbie Harry of Blondie (/wiki/Blondie_(band)) in 1977. Susana Giménez (/wiki/Susana_Gim%C3%A9nez) wearing hotpants (/wiki/Hotpants) , 1977 Silk scarves were popular fashion accessories for women in the 1970s. Singer Barry Manilow (/wiki/Barry_Manilow) wears his hair longish in the soft, layered style favoured by men in the 1970s. Punk pioneer Lene Lovich (/wiki/Lene_Lovich) in 1979, with her trademark long plaited (/wiki/Braid) hair. Alan Bennett (/wiki/Alan_Bennett) in 1973, wearing a wide necktie Frisbee player Ken Westerfield (/wiki/Ken_Westerfield) wearing draw string bell bottoms in the 1970s See also [ edit ] Deconstruction (fashion) (/wiki/Deconstruction_(fashion)) 1970s portal (/wiki/Portal:1970s) Fashion portal (/wiki/Portal:Fashion) References [ edit ] ^ (#cite_ref-240) Which took over Afghanistan in 1992, not by the end of the 70s ^ (#cite_ref-1) "1970's Revival – Fashion blog" (https://web.archive.org/web/20170924001527/http://www.oxfam.org.uk/fashion-blog/2016/09/1970s-revival) . Oxfam GB. Archived from the original (http://www.oxfam.org.uk/fashion-blog/2016/09/1970s-revival) on 24 September 2017 . Retrieved 5 December 2017 . ^ (#cite_ref-TroubledTimes70s_2-0) "Troubled Times: 1961–79" (http://www.fashionencyclopedia.com/fashion_costume_culture/Modern-World-Part-II-1961-1979/Troubled-Times-1961-79.html) . Retrieved 27 July 2014 . ^ (#cite_ref-3) Evans, Ell N. (24 August 1975). "The Emperor's Fall Clothes" (https://www.nytimes.com/1975/08/24/archives/the-emperors-fall-clothes-the-layered-look-looked-hotter-than-a.html) . The New York Times : 213 . Retrieved 24 March 2022 . [J]eans have invaded ballet, theater and gallery openings with such assertion that everyone else feels overdressed. ^ (#cite_ref-4) Marie Claire (31 December 2014). "Diane von Furstenberg's Style History In Dresses" (https://www.marieclaire.co.uk/fashion/the-story-of-diane-von-furstenberg-s-most-iconic-dresses-30763) . Marie Claire UK . Retrieved 15 April 2023 . ^ (#cite_ref-5) "Vintage Fashion Guild : Label Resource : Von Furstenberg, Diane" (https://vintagefashionguild.org/label-resource/von-furstenberg-diane/) . vintagefashionguild.org . Retrieved 15 April 2023 . ^ (#cite_ref-6) "Wrap superstar: Designer Diane von Fürstenberg tells her story" (https://www.independent.co.uk/life-style/fashion/features/wrap-superstar-designer-diane-von-furstenberg-tells-her-story-801189.html) . The Independent on Sunday . London. 27 March 2008. Archived (https://ghostarchive.org/archive/20220507/https://www.independent.co.uk/life-style/fashion/features/wrap-superstar-designer-diane-von-furstenberg-tells-her-story-801189.html) from the original on 7 May 2022 . Retrieved 13 April 2023 . ^ (#cite_ref-7) Leora Tanenbaum (/wiki/Leora_Tanenbaum) (14 July 2015). "Because of Slut-Shaming, the Wrap Dress Still Matters" (http://www.huffingtonpost.com/leora-tanenbaum/because-of-slut-shaming-the-wrap-dress-still-matters_b_7769476.html) . Huffington Post . Retrieved 13 April 2023 . ^ (#cite_ref-8) Morris, Bernadine (15 August 1976). "Fashion: Paris Report" (https://www.nytimes.com/1976/08/15/archives/fashion-paris-report-peasant-luxe.html) . The New York Times . p. 179 . Retrieved 4 April 2022 . In the late 1960's, [Saint Laurent] watched the student riots in Paris and came up with the pants suit, which everyone is still wearing. ^ (#cite_ref-9) Morris, Bernadine (16 September 1968). "Saint Laurent Has a New Name for Madison Avenue – Rive Gauche" (https://www.nytimes.com/1968/09/16/archives/saint-laurent-has-a-new-name-for-madison-ave-rive-gauche.html) . The New York Times : 54 . Retrieved 23 April 2023 . During the student upheavals in Paris in May [1968], [Saint Laurent] saw the girls and boys behind the barricades dressed...in pants...'They looked beautiful...,' he said...'Fashion is not only couture....Events are more important.'...[In] his last Paris couture collection, shown in July,...[p]ants outfits overshadowed more conventional attire. ^ (#cite_ref-10) Embree, Alice (2021). "Raising Our Voices: 1973-1979". Voice Lessons . Austin, TX, USA: Briscoe Center for American History, The University of Texas at Austin. p. 174. ISBN (/wiki/ISBN_(identifier)) 978-0-9997318-6-4 . In 1970, the women's movement began to take dress down an increasingly informal path. T-shirts, blue jeans, cutoffs, hiking boots, hair flowing freely...Women disposed of bras and freed their breasts under T-shirts or blue work shirts....Relaxed informality settled into the mainstream. In the '70s, political statements moved from buttons to...T-shirts. ^ (#cite_ref-11) Heathcote, Phyllis W. (1971). "Fashion and Dress". Britannica Book of the Year 1971: Events of 1970 . Encyclopaedia Britannica, Inc. p. 324. ISBN (/wiki/ISBN_(identifier)) 0-85229-158-2 . ...[T]he influence of the hippie movement could not be ruled out. The exotic prints..., the jacquard and patchwork effects, the general look of casual softness with swathed heads and flowing draperies, peasant, gypsy, and 'granny' looks,...bright wool ponchos..., the vogue for fantastic...jewelry, the long hair – all could be traced to the hippie... ^ Jump up to: a b "Paperpast Yearbook" (https://web.archive.org/web/20170830163305/http://www.paperpast.com/html/1970_fashion.html) . Paperpast.com . Archived from the original (http://www.paperpast.com/html/1970_fashion.html) on 30 August 2017 . Retrieved 5 December 2017 . ^ Jump up to: a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab "Fashion in the 1970s" (http://www.retrowaste.com/1970s/fashion-in-the-1970s/) . Retrieved 1 July 2014 . ^ Jump up to: a b c d "HIPPIES" (http://www.fashionencyclopedia.com/fashion_costume_culture/Modern-World-Part-II-1961-1979/Hippies.html) . Retrieved 3 July 2014 . ^ Jump up to: a b "Gaucho Pants" (http://www.fashionencyclopedia.com/fashion_costume_culture/Modern-World-Part-II-1961-1979/Gaucho-Pants.html) . Retrieved 3 July 2014 . ^ Jump up to: a b c d e f g h i j k l m n "1970s Fashion for Women & Girls" (http://www.retrowaste.com/1970s/fashion-in-the-1970s/1970s-fashion-for-women-girls/) . Retrieved 2 July 2014 . ^ Jump up to: a b c d e "1970s Dresses & Skirts: Styles, Trends & Pictures" (http://www.retrowaste.com/1970s/fashion-in-the-1970s/1970s-dresses-skirts-styles-trends-pictures/) . Retrieved 2 July 2014 . ^ Jump up to: a b c d "Birkenstocks" (http://www.fashionencyclopedia.com/fashion_costume_culture/Modern-World-Part-II-1961-1979/Birkenstocks.html) . Retrieved 7 July 2014 . ^ Jump up to: a b "Earth Shoes" (http://www.fashionencyclopedia.com/fashion_costume_culture/Modern-World-Part-II-1961-1979/Earth-Shoes.html) . Retrieved 7 July 2014 . ^ (#cite_ref-20) Buckley, Cheryl (1 October 2007). Designing Modern Britain . Reaktion Books. ISBN (/wiki/ISBN_(identifier)) 978-1-86189-322-2 . ^ (#cite_ref-21) Livingston, Kathryn Zahony. "Fashion". The 1973 World Book Year Book: A Review of the Events of 1972 . Field Enterprises Educational Corporation. p. 339. ISBN (/wiki/ISBN_(identifier)) 0-7166-0-473-6 . Clogs, wedgies, cork-soled platforms, and chunky, high heels continued to alarm podiatrists. ^ (#cite_ref-22) Livingston, Kathryn Zahony (1974). "Fashion". The 1974 World Book Year Book: A Review of the Events of 1973 . Field Enterprises Educational Corporation. p. 319. ISBN (/wiki/ISBN_(identifier)) 0-7166-0474-4 . Unmonumental accessories were the norm: golden chains, gold-button earrings, rhinestone clips... ^ (#cite_ref-Glamour_Jagger_23-0) "70s fashion icons" (https://web.archive.org/web/20141029144322/http://www.glamourmagazine.co.uk/fashion/celebrity-fashion/2011/03/70s-fashion-style-icons#!image-number=2) . Glamour. 2014. Archived from the original (https://www.glamourmagazine.co.uk/fashion/celebrity-fashion/2011/03/70s-fashion-style-icons#!image-number=2) on 29 October 2014 . Retrieved 28 October 2014 . ^ (#cite_ref-24) Howell, Georgina (1978). "1972". In Vogue: Sixty Years of Celebrities and Fashion from British Vogue . Harmondsworth, Middlesex, England: Penguin Books Ltd. p. 325. ISBN (/wiki/ISBN_(identifier)) 0-14-004955-X . Shoes are preposterously high and vivid, the thick platform adding inches to already tall heels. Saint Laurent's rope-soled wedge espadrilles in primary colours lace up...and...there are...corksoled sandals. ^ (#cite_ref-25) Sweetinburgh, Thelma (1973). "Fashion and Dress". 1973 Britannica Book of the Year: Events of 1972 . Encyclopaedia Britannica, Inc. p. 295. ISBN (/wiki/ISBN_(identifier)) 0-85229-282-1 . ...[C]lumsy wartime clogs, in shades of green, red, yellow, blue, or pink, were popular with the young crowd. ^ (#cite_ref-26) Sweetinburgh, Thelma (1973). "Fashion and Dress". 1973 Britannica Book of the Year: Events of 1972 . Encyclopaedia Britannica, Inc. pp. 295–296. ISBN (/wiki/ISBN_(identifier)) 0-85229-282-1 . ...jeans rolled up to uncover multicoloured striped socks and...bright clogs. ^ (#cite_ref-27) Dullea, Georgia (19 December 1973). "The Youngsters Love Outrageous Socks: 'Why Have Drab Feet?' (https://www.nytimes.com/1973/12/19/archives/the-youngsters-love-outrageous-socks-why-have-drab-feet-a-hope-for.html) " (https://www.nytimes.com/1973/12/19/archives/the-youngsters-love-outrageous-socks-why-have-drab-feet-a-hope-for.html) . The New York Times : 52 . Retrieved 8 March 2022 . [T]hey parade through the halls of Pleasantville (N. Y.) High School in what look more like gloves than socks. Toe Socks, the girls call them. For $3 a pair they get 10 different colored toes. 'Everybody around here loves them,' says Maria, regarding her rainbow of toes through Dr. Scholl's sandals and confiding that toe socks take getting used to...Mostly they're wearing them under their jeans...Nina Borie, a 17‐year‐old senior there, has swapped those cable knits that mother bought for socks striped in orange, yellow and green. ^ Jump up to: a b c "1970s Boots for Women: Styles, Trends & Pictures" (http://www.retrowaste.com/1970s/fashion-in-the-1970s/1970s-boots-crinkle-platform-granny-stretch-boots/) . Retrieved 2 July 2014 . ^ (#cite_ref-29) Howell, Georgina (1978). "1973". In Vogue: Sixty Years of Celebrities and Fashion from British Vogue . Harmondsworth, Middlesex, England: Penguin Books Ltd. p. 329. ISBN (/wiki/ISBN_(identifier)) 0-14-004955-X . There is an out-of-uniform uniform for students and school-leavers: floppy-brimmed hat, long straight hair, full-sleeved shirt or smock, and cotton skirt to the ground. ^ (#cite_ref-30) Morris, Bernadine (21 April 1974). "Clothes for Fall: Mostly Casual" (https://www.nytimes.com/1974/04/21/archives/clothes-for-fall-mostly-casual-fashion-talk.html) . The New York Times : 54 . Retrieved 22 June 2022 . A good portion of the styles are knitted. There are plenty of versions of the standard international daytime uniform: the sweater‐jacket over a flared skirt. ^ (#cite_ref-31) Elkins, Ann (1969). "Fashion". The Americana Annual, 1976: An Encyclopedia of the Events of 1975 . Grolier Incorporated. p. 247. ISBN (/wiki/ISBN_(identifier)) 0-7172-0207-0 . The jeans craze continued to mushroom at an unbelievable pace....Denim...was prewashed, brushed, streaked, bleached, studded, and embroidered. Knits or wovens were dyed or printed to simulate denim. Jean stitching and styling on...skirts made them best-sellers. Blazers and shirt jackets, tenty jumpers, and chemises were made in denim... ^ (#cite_ref-32) Elkins, Ann (1969). "Fashion". The Americana Annual, 1976: An Encyclopedia of the Events of 1975 . Grolier Incorporated. p. 247. ISBN (/wiki/ISBN_(identifier)) 0-7172-0207-0 . The new jean, labeled the 'cigarette,' was narrow of leg and designed to be rolled up to mid-calf over boots. ^ Jump up to: a b Klemesrud, Judy (17 February 1976). "In Pioneer-Style Boots, the Klutzy Look is Chic" (https://www.nytimes.com/1976/02/17/archives/in-pioneerstyle-boots-the-klutzy-look-is-chic.html) . The New York Times : 52 . Retrieved 10 February 2022 . ...[Knee-high] Frye boots are the 'hot boots' this season...They were wide and loose around the ankles... ^ (#cite_ref-34) "From the Sands of Morocco to the Sidewalks of New York" (https://www.nytimes.com/1975/12/03/archives/from-the-sands-of-morocco-to-the-sidewalks-of-new-york.html) . The New York Times : 56. 3 December 1975 . Retrieved 8 March 2022 . You'll find Mademoiselle and Glamour readers wearing jeans tucked into their Frye boots and Vogue and Harper's Bazaar readers wearing their pants with the more expensive Charles Jourdan boots. ^ (#cite_ref-35) Crenshaw, Mary Ann (30 June 1974). "Fashion" (https://www.nytimes.com/1974/06/30/archives/fashion-espadrilles.html) . The New York Times : 34 . Retrieved 8 March 2022 . Classic Spanish espadrille is two-toned brown and orange canvas....A covered wedge makes an embroidered denim espadrille into a shoe....Sling‐back espadrille in navy canvas has open toe, platform sole....An acid green espadrille is set on a high, high sole, has leather ties. ^ (#cite_ref-36) Jones, Stacy V. (12 July 1975). "Laboratory Method is Utilized to Test Tires" (https://www.nytimes.com/1975/07/12/archives/laborator-method-is-utilized-to-test-tires-patents-laboratory-tire.html) . The New York Times : 31 . Retrieved 3 March 2022 . Famolare, Inc., is manufacturing 150,000 pairs a month of its Get There shoes. The shoe has a sole trademarked Wave,...a positive shock‐absorbing heel that propels the walker and creates a fluidity of rolling motion. The wavy bottoms have attracted considerable attention in the shoe trade....The sole...has four waves, one under the heel, another under the toe, and two in between. ^ Jump up to: a b "Mood Rings" (http://www.fashionencyclopedia.com/fashion_costume_culture/Modern-World-Part-II-1961-1979/Mood-Rings.html) . Retrieved 7 July 2014 . ^ Jump up to: a b c "Hip Huggers" (http://www.fashionencyclopedia.com/fashion_costume_culture/Modern-World-Part-II-1961-1979/Hip-Huggers.html) . Retrieved 2 July 2014 . ^ (#cite_ref-39) Peacock, John (2010). 20th-century fashion: the complete sourcebook . London: Thames & Hudson Ltd. p. 533. ISBN (/wiki/ISBN_(identifier)) 978-0-500-20402-3 . ^ (#cite_ref-40) Pendergast, Tom and Sarah (2004). Fashion, Costume and Culture . MI, USA: Thomson Gale. p. 933 (https://archive.org/details/fashioncostumecu0000pend/page/933) . ISBN (/wiki/ISBN_(identifier)) 0-7876-5422-1 . ^ (#cite_ref-41) Mulvagh, Jane (1988). "1968-1975". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 305. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . Designers and public alike grew tired of...classics and the 'big look' was introduced in the mid-seventies – loose, baggy, layered capes, smocks, tent dresses, leg-warmers and balaclavas – combined with the ethnic look. ^ (#cite_ref-42) Morris, Bernadine (5 March 1975). "Will It Be Full Dresses or Narrow – or Back to Living in Jeans?" (https://www.nytimes.com/1975/03/05/archives/will-it-be-full-dresses-or-narrow-or-back-to-living-in-jeans.html) . The New York Times : 23 . Retrieved 18 February 2022 . [In 1973], the big look was unleashed by Kenzo Takada,...and it soon took the French capital by storm. Within months the avant-garde was turning up in loose dresses and big coats. A year later, Karl Lagerfeld refined it and gave it stature in his collection for Chloe. By last fall [1974], the streets of Paris and other cities in Europe with pretensions to fashion were dominated by loose dresses, big capes and flowing skirts. The voluminous look had arrived. ^ (#cite_ref-43) Finley, Ruth, ed. (1 December 1974). "American RTW: The Long, Soft Spring of '75". Fashion International . III (3). New York, NY, USA: FI Publications, Inc.: 1. 'Soft' best describes the look, soft fabrics, soft silhouettes, soft sleeves, soft details, 'soft' colors. ^ (#cite_ref-44) Morris, Bernadine (25 August 1974). "The Big Look" (https://www.nytimes.com/1974/08/25/archives/the-big-look-the-big-look.html) . The New York Times : 285 . Retrieved 10 February 2022 . [S]tanding in the wings for fall is one of those momentous changes. It involves swashbuckling capes, blouses that blouse instead of cling, swirling skirts, voluminous coats, all wrapped up in acres of scarves. ^ (#cite_ref-45) Morris, Bernadine (1 January 1976). "70's Fashion: Sportswear at the Summit" (https://www.nytimes.com/1976/01/01/archives/70s-fashion-sportswear-at-the-summit-hemlines-stabilized.html) . The New York Times : 36 . Retrieved 10 February 2022 . Paris started the 'big look'—voluminous coats, tent dresses, smock tops. Longer skirts went along with it....By the fall of 1974, long skirts, boots and capes were established as the uniform of the chic... ^ (#cite_ref-46) Hyde, Nina S. (/wiki/Nina_Hyde) (1 January 1978). "Fashion Notes" (https://www.washingtonpost.com/archive/lifestyle/1978/01/01/fashion-notes/d8df3044-440b-4fbf-a216-7c263cbd2d5b/) . The Washington Post . Retrieved 10 February 2022 . Fashion punch words from 1977 that carry into spring and summer 1978: softness, easy, loose, light....[I]t means loose fitting clothes in lightweight, unlined natural fabrics. ^ (#cite_ref-47) Curtis, Charlotte (/wiki/Charlotte_Curtis) (1 January 1971). "The Midi Laid an Egg in 1970, but It Did Hatch Other Fashions" (https://www.nytimes.com/1971/01/01/archives/the-midi-laid-an-egg-in-1970-but-it-did-hatch-other-fashions.html) . The New York Times : 33 . Retrieved 4 April 2022 . ...the already popular gypsy‐ethnic look. ^ (#cite_ref-48) Emerson, Gloria (/wiki/Gloria_Emerson) (22 January 1969). "Italian Couture Short on Ideas, Long on Effects" (https://www.nytimes.com/1969/01/22/archives/italian-couture-short-on-ideas-long-on-effects.html) . The New York Times : 34 . Retrieved 13 July 2023 . The gypsy look...means a full, colorful skirt or a flounced one....[T]he gypsy idea is under way everywhere... ^ (#cite_ref-49) Morris, Bernadine (13 July 1970). "Madame Butterfly Look Flutters Through Rome Fashion Shows" (https://www.nytimes.com/1970/07/13/archives/madame-butterfly-look-flutters-through-rome-fashion-shows.html) . The New York Times : 34 . Retrieved 17 May 2023 . ...[H]ippie girls have taken to long printed peasant skirts. ^ (#cite_ref-50) Morris, Bernadine (3 April 1974). "At Paris Shows, the Fabric is Flowing" (https://www.nytimes.com/1974/04/03/archives/at-paris-shows-the-fabric-is-flowing-special-to-the-new-york-times.html) . The New York Times : 48 . Retrieved 10 February 2022 . [T]he dresses are so voluminous. The yardage is immense. They're also quite long, baring not much more than the ankles. That's the length most of the clothes are around here....[A]ll inner construction, and practically all seams, have been eliminated. That means no linings, no interfacing, not even any turned‐under hems—the fabric has simply been cut off at the bottom. As a result, the clothes can be piled on top of each other, layer upon layer, without making the wearer look like a moving mountain. A cape, two coats and a dress worn ensemble is not unusual. Instead of cutting up fabrics into little pieces and sewing them torturously together, designers seem to be throwing them against the body and letting them flow. ^ (#cite_ref-51) Morris, Bernadine (31 March 1974). "Fashion is Quiet Now and Some Designers Say That's Just Fine" (https://www.nytimes.com/1974/03/31/archives/fashion-is-quiet-now-and-some-designers-say-thats-just-fine-realism.html) . The New York Times : 56 . Retrieved 4 April 2022 . 'Young people don't care about seams,' [Calvin] Klein said. 'I stopped caring myself. I keep paring things down more and more. Clothes are less constructed today. That's what makes them more natural'. ^ (#cite_ref-52) Hyde, Nina S. (/wiki/Nina_Hyde) (8 November 1977). "Plunging into a Billowy Spring" (https://www.washingtonpost.com/archive/lifestyle/1977/11/08/plunging-into-a-billowy-spring/02c3ac9d-6d23-4979-aeea-5eaa5d0bf27c/) . The Washington Post . Retrieved 4 April 2022 . John Anthony insured the light weight of his clothes by developing two machines that eliminate hems, bindings, plackets and even linings. ^ (#cite_ref-53) Morris, Bernadine (10 February 1976). "Fashion's Fresh Approach: Free-Flowing, Elegant and Gay" (https://www.nytimes.com/1976/02/10/archives/fashions-fresh-approach-freeflowing-elegant-and-gay-not-our.html) . The New York Times : 32 . Retrieved 4 April 2022 . ...[T]he new clothes seem natural, as if they weren't designed at all, but just happened. The best of them just flow, moving effortlessly over the body, anchored gently by drawstrings or elasticized smocking. ^ (#cite_ref-54) Morris, Bernadine (4 April 1973). "Kenzo Displays His Imagination With a Fun-Filled Show in Paris" (https://www.nytimes.com/1973/04/04/archives/kenzo-displays-his-imagination-with-a-funfilled-fashion-show-in.html) . The New York Times : 38 . Retrieved 31 December 2021 . The models wore big, bulky sweaters over full dirndl skirts in gray flannel, tent dresses and tent coats and pleated dresses with embroidered white petticoats worn under them....[H]emlines ranged from below the knee to above the ankle...These long skirts have a certain kick to them. They're very full, even the flannel ones. ^ (#cite_ref-55) Salmans, Sandra (25 August 1974). "Seventh Avenue" (https://www.nytimes.com/1974/08/25/archives/seventh-avenue.html) . The New York Times : 96 . Retrieved 10 December 2021 . ...[T]he Big Look...was pioneered in Paris a year ago [1973] by Kenzo Takada...with absurdly large skirts and coats....[T]he look features long skirts, dropped shoulders, dolman sleeves and large armholes, blouson jackets, blowing capes, and loose dresses–all laid on with layers of fabric. ^ (#cite_ref-56) Mulvagh, Jane (1988). "1974". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 337. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . Kenzo anticipated a major change this winter by creating a full, circular skirt, easily caught by the wind...The replacement of the short, kicky skirt by the longer, fuller style was the most important change in the silhouette...The new coat and cape shapes were also looser, fuller and longer – the hemline was anywhere from 3 inches below the knee to the ankle. This voluminous, unconstructed style was christened the 'Big Look'. ^ (#cite_ref-57) Morris, Bernadine (3 April 1974). "At Paris Shows, the Fabric is Flowing" (https://www.nytimes.com/1974/04/03/archives/at-paris-shows-the-fabric-is-flowing-special-to-the-new-york-times.html) . The New York Times : 48 . Retrieved 10 February 2022 . The difference with Lagerfeld's things is that all inner construction, and practically all seams, have been eliminated. That means no linings, no interfacing, not even any turned‐under hems—the fabric has simply been cut off at the bottom. ^ (#cite_ref-58) Hyde, Nina S. (/wiki/Nina_Hyde) (29 March 1977). "Paris Looks: Casanova to Puss 'n' Boots" (https://www.washingtonpost.com/archive/lifestyle/1977/03/29/paris-looks-casanova-to-puss-n-boots/c731ec09-f529-4ca8-ab22-ae7fdeb5647f/) . The Washington Post . Retrieved 10 February 2022 . It was Lagerfeld who first took the shaping and the linings out of clothes...He also removed hemlines entirely to make clothes lighter and more easily layered....'[Y]ou cannot go back to lined clothing, because...clothes today must be light and loose'. ^ (#cite_ref-59) Mulvagh, Jane (1988). "1968-1975". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 300. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . ...Fendi...employed Karl Lagerfeld to design their fur range and he changed the whole silhouette of modern furs....Lagerfeld insisted that the underside of the pelts be stripped down to the very thinnest layer needed to support the pile, and by softening and treating the underside, made it unnecessary to line the garment. ^ (#cite_ref-60) Morris, Bernadine (30 May 1974). "For Day or Night, Pants are a Way of Life" (https://www.nytimes.com/1974/05/30/archives/for-day-or-night-pants-are-a-way-of-life.html) . The New York Times : 28 . Retrieved 7 November 2022 . The winds of change are rustling through the workrooms of Seventh Avenue, blowing away the skinny, skimpy, body‐clinging clothes of the past ten years. In their place are voluminous tops, widely flaring skirts, longer hemlines. ^ (#cite_ref-61) Livingston, Kathryn. "Fashion". The 1978 World Book Year Book: Events of 1977 . World Book-Childcraft International, Inc. p. 322. ISBN (/wiki/ISBN_(identifier)) 0-7166-0478-7 . ...Geoffrey Beene was hailed as the father of the Soft Look....Years ago, he perfected an effortless flow of fabric over the figure so that shoulders took the shape of the body, waistlines were formed by a cord, and hemlines fell where they fell. ^ (#cite_ref-62) Morris, Bernadine (27 June 1974). "Coty Awards Go To Halston and Beene" (https://www.nytimes.com/1974/06/27/archives/coty-awards-go-to-halston-and-beene-another-award-winner-the-first.html) . The New York Times : 52 . Retrieved 4 April 2022 . None of [Beene's coats] are lined and all inner construction has been removed....'[I]n spite of their new bulk, they actually weigh less....It's the first direction of the seventies, I believe,' he said. ^ (#cite_ref-63) Livingston, Kathryn Zahony (1997). "Fashion". The 1975 World Book Year Book: Events of 1974 . Field Enterprises Educational Corporation. p. 328. ISBN (/wiki/ISBN_(identifier)) 0-7166-0475-2 . ...Yves Saint Laurent with his beltless Naïve Chemise gave the [Big Look] the stamp of haute couture. ^ (#cite_ref-64) Peake, Andy (2018). "The New Ease in Fashion". Made for Walking . Atglen, Pennsylvania: Schiffer Fashion Press. p. 113. ISBN (/wiki/ISBN_(identifier)) 978-0-7643-5499-1 . ...[I]n 1974,...Saint Laurent created a Russian-themed collection....Saint Laurent's collection featured full skirts that fell below the knees, thick sweaters, capes, quilted gold jackets, velvet and satin knickerbockers, long fur coats and matching fur hats, and a new, and very distinctive, style of knee-length fashion boot...loose-fitting... ^ (#cite_ref-65) Freund, Andreas (8 August 1976). "The Empire of Saint Laurent" (https://www.nytimes.com/1976/08/08/archives/the-empire-of-saint-laurent.html) . The New York Times . p. 87 . Retrieved 18 February 2022 . The noise about Saint Laurent's big silhouette and folkloric look served to enhance his reputation... ^ (#cite_ref-66) Morris, Bernadine (23 April 1977). "Designers Softly Changing the Way Women Will Dress" (https://www.nytimes.com/1977/04/23/archives/designers-softly-changing-the-way-women-will-dress.html) . The New York Times : 48 . Retrieved 15 March 2022 . An enormous change is taking place in the clothes now being introduced...Not nearly so visible as shifting, by a yard or so, the length of a dress or switching a good proportion of the female population from skirts into pants, the new trend nevertheless has a tremendous influence on the shape of clothes....The significant element is softness, expressed in the character of the fabrics employed and the lack of stiffness in the construction....[I]t is permeating the majority of the collections. ^ (#cite_ref-67) Livingston, Kathryn Zahony (1997). "Fashion". The 1975 World Book Year Book: Events of 1974 . Field Enterprises Educational Corporation. p. 328. ISBN (/wiki/ISBN_(identifier)) 0-7166-0475-2 . In the United States, Calvin Klein was cheered for his wearable, toned-down, Americanized versions [of the Big Look]. ^ (#cite_ref-68) Donovan, Carrie (28 August 1977). "Feminism's Effect on Fashion" (https://www.nytimes.com/1977/08/28/archives/feminisms-effect-on-fashion.html) . The New York Times : 225 . Retrieved 10 December 2021 . A year ago [1976], Klein, who has the ability to sense what women want before they know it, designed a fall collection that...had...a lot of longer, fuller skirts and looser tops. Everything was softer, less tailored. ^ (#cite_ref-69) Morris, Bernadine (10 November 1977). "Spring Fashions: A Little Something for Everybody" (https://www.nytimes.com/1977/11/10/archives/westchester-opinion-spring-fashions-a-little-something-for.html) . The New York Times : 65 . Retrieved 31 December 2021 . One of the big changes in [Mary McFadden's] current collection is a loosening of the rather strict, austere McFadden silhouette. That means there are more bloused bodices, somewhat fuller skirts and even various layering effects. ^ (#cite_ref-70) Morris, Bernadine (15 August 1976). "Fashion: Paris Report" (https://www.nytimes.com/1976/08/15/archives/fashion-paris-report-peasant-luxe.html) . The New York Times : 179 . Retrieved 18 March 2022 . Hubert de Givenchy loosened up a bit, turning out a peasant style or two. ^ (#cite_ref-71) Duka, John (2 July 1978). "Fashion Profile" (https://www.nytimes.com/1978/07/02/archives/fashion-profile-home-grown-talent.html) . The New York Times : SM6 . Retrieved 31 December 2021 . Last year [1977]..., Ellis was one of the major interpreters of the 'Slouch Look,' his own name for such designs as loose‐fitting, voluminous tops with raglan sleeves draped offhandedly over tapered pants cut too long so that they bunched at the ankles. He followed this with gutsy, oversized, bulky knit sweaters that hung down to mid‐thigh. ^ (#cite_ref-72) Donovan, Carrie (12 November 1978). "Why the Big Change Now" (https://www.nytimes.com/1978/11/12/archives/why-the-big-change-now.html) . The New York Times : SM226 . Retrieved 15 November 2021 . Perry Ellis...turned out some of the most extreme of the layered, piled-on 'big' looks... ^ (#cite_ref-73) Mulvagh, Jane (1988). "1975". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 339. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . 'Much too big is the right size,' as Kenzo put it. He produced larger-than-life, loose, casual clothes – smocks, tent dresses and huge striped dungarees. ^ (#cite_ref-74) Morris, Bernadine (9 May 1974). "The Closet May Seem Too Little This Fall" (https://www.nytimes.com/1974/05/09/archives/the-closet-may-seem-too-little-this-fall-fashion-talk.html) . The New York Times : 52 . Retrieved 10 March 2022 . Voluminous. Massive. Wide. Flowing. These are the words to describe the new clothes that are emerging...Voluminous capes. Wide coats and jackets. Big, flowing skirts. ^ (#cite_ref-75) Hyde, Nina S. (/wiki/Nina_Hyde) (24 October 1977). "Thinking Big for Spring" (https://www.washingtonpost.com/archive/lifestyle/1977/10/24/thinking-big-for-spring/69607aa7-4a9e-4e4a-882e-32172a15cdc6/) . The Washington Post . Retrieved 7 February 2022 . Everything is very big – jackets, dresses, skirts, blousons, vests, sweaters, tunic, coats...Big dresses are selling, so are all the blousons. ^ (#cite_ref-76) Morris, Bernadine (27 October 1977). "Sunshine from Paris: Billows and Blousing" (https://www.nytimes.com/1977/10/27/archives/sunshine-from-paris-billows-and-blousing.html) . The New York Times : 69 . Retrieved 16 March 2022 . Forget about clothes that fit snugly. They simply aren't a part of today's scene. ^ (#cite_ref-77) Hyde, Nina S. (/wiki/Nina_Hyde) (28 March 1977). "The Long and Short (Fat and Thin) of Paris Fashions" (https://www.washingtonpost.com/archive/lifestyle/1977/03/28/the-long-and-short-fat-and-thin-of-paris-fashions/c756ef5e-694a-439d-8263-e3f353dec992/) . The Washington Post . Retrieved 11 March 2022 . One rule for all the very full clothing is that the fabric must be done in the lightest weight possible. ^ (#cite_ref-78) Livingston, Kathryn. "Fashion". The 1978 World Book Year Book: Events of 1977 . World Book-Childcraft International, Inc. p. 322. ISBN (/wiki/ISBN_(identifier)) 0-7166-0478-7 . Soft did not mean limp matte jerseys or clingy knits, but...natural fibers...In winter, chenille, challis, chamois, cashmere, and fur blends...In summer,...handkerchief linen, fishnet, burlap, muslin, ramie, eyelet cotton, and both raw and refined silk. ^ (#cite_ref-79) Morris, Bernadine (10 November 1977). "Spring Fashions: A Little Something for Everyone" (https://www.nytimes.com/1977/11/10/archives/westchester-opinion-spring-fashions-a-little-something-for.html) . The New York Times : 65 . Retrieved 31 December 2021 . ...[Perry Ellis] uses linen, hopsacking and even hemp for his loose jackets, full skirts and big shirts... ^ (#cite_ref-80) Hyde, Nina S. (/wiki/Nina_Hyde) (24 October 1977). "Thinking Big for Spring" (https://www.washingtonpost.com/archive/lifestyle/1977/10/24/thinking-big-for-spring/69607aa7-4a9e-4e4a-882e-32172a15cdc6/) . The Washington Post . Retrieved 7 February 2022 . Many of the clothes are cotton, in bantam weights so that they are as un-bulky in all their layers, as cool for hot weather, [and] as see-through and sexy as big and blousy clothes can possibly be. ^ (#cite_ref-81) "The New Romanticism" (https://www.nytimes.com/1977/03/06/archives/the-new-romanticism-city-side-loose-shapes-textured-fabrics-accents.html) . The New York Times : 246. 6 March 1977 . Retrieved 24 March 2022 . Handkerchief linen is...a favored fabric...[D]esigners are using muslin, ramie, cotton, burlap, eyelet and silk, both raw and refined—all in natural colors or the whitest of whites. ^ (#cite_ref-82) Hyde, Nina S. (/wiki/Nina_Hyde) (19 June 1977). "Fashion Notes" (https://www.washingtonpost.com/archive/lifestyle/1977/06/19/fashion-notes/c17bef0a-316c-4b0e-bc37-fe0b50a736ab/) . The Washington Post . Retrieved 24 March 2022 . No one in New York is wasting energy ironing clothes this summer. The look is rumpled, worn fresh from the washer and dryer by both men and women. ^ (#cite_ref-83) Larkin, Kathy. "Fashion". 1976 Collier's Year Book Covering the Year 1975 . Macmillan Educational Corporation. p. 247. ...prewrinkled cotton, prewashed denim, and gauzy and muslin looks in billowing big dresses... ^ (#cite_ref-84) Finley, Ruth, ed. (1 November 1974). "Issey Miyake". Fashion International . III (2). New York, NY, USA: FI Publications, Inc.: 2. Issey Miyake...goes 'natural' for 1975, in colors inspired by sand, sky and earth... ^ (#cite_ref-85) Hyde, Nina S. (/wiki/Nina_Hyde) (13 November 1977). "Comings and Goings at Studio 54" (https://www.washingtonpost.com/archive/lifestyle/1977/11/13/comings-and-goings-at-studio-54/5be9f11b-a927-4bea-a6c4-62358a75c28f/) . The Washington Post . Retrieved 4 April 2022 . The best prints are on the fragile side,...like Calvin Klein's rosebud prints, the tiny stripes at Cathy Hardwick and Geoffrey Beene's geometric pin-dots and plaids. ^ (#cite_ref-86) Morris, Bernadine (5 August 1976). "A Parisian Solution for Summer '76" (https://www.nytimes.com/1976/08/05/archives/a-parisian-solution-for-summer-76.html) . The New York Times : 50 . Retrieved 10 March 2022 . In addition to solid color cottons, tiny flower prints are popular... ^ (#cite_ref-87) Finley, Ruth, ed. (1 May 1974). "Paris RTW Predicts a Long, Layered Winter". Fashion International . II (8). New York, NY, USA: FI Publications, Inc.: 1. Never have so many layers of clothing marched down so many runways! ^ (#cite_ref-88) Hyde, Nina S. (/wiki/Nina_Hyde) (24 October 1977). "Thinking Big for Spring" (https://www.washingtonpost.com/archive/lifestyle/1977/10/24/thinking-big-for-spring/69607aa7-4a9e-4e4a-882e-32172a15cdc6/) . The Washington Post . Retrieved 7 February 2022 . Everything is lightweight, unconstructed and layered. Starting with the shortest garment, the levels of layering at France Andrevie, for example, build up like this: a vest over a jacket over a tunic over a big skirt over a pair of pants. Wear it all or any combination of parts. ^ (#cite_ref-89) Morris, Bernadine (14 June 1977). "New Designers Add Perspective to Fall Fashions" (https://www.nytimes.com/1977/06/14/archives/new-designers-add-perspective-to-fall-fashions.html) . The New York Times : 48 . Retrieved 31 December 2021 . Over [a] T‐shirt, [Perry Ellis] will place a cotton shirt, a hooded khaki sweater, and a quilted cotton coat...He likes sleeves rolled up and feels that two pairs of socks, one baggy, give the proper contrast to the flouncy [underskirts]. ^ (#cite_ref-90) Morris, Bernadine (10 April 1977). "Preview What's Coming in Fashion" (https://www.nytimes.com/1977/04/10/archives/preview-whats-coming-in-fashion-paris.html) . The New York Times : SM39 . Retrieved 10 February 2022 . Voluminous is the word for the prevailing shapes, applying to coats, capes and the dominant smock dress. The fullness is gathered in by drawstrings and if you don't happen to have one handy, you can tie a belt or a piece of string around your waist and pull up your dress a bit so it blouses. ^ (#cite_ref-91) Morris, Bernadine (23 July 1976). "On the Sidewalks of New York, a New Silhouette for Pants" (https://www.nytimes.com/1976/07/23/archives/on-the-sidewalks-of-new-york-a-new-silhouette-for-pants.html) . The New York Times : 33 . Retrieved 10 March 2022 . All you need to keep in step with fashion these days is a bit of string. A pair of shoelaces will do. Or a length of wool yarn, the kind used to tie packages or ponytails....You twist your string around the pants just above the anklebone, pull the fabric out a bit so it blouses, and you have it—the new puffy look. ^ (#cite_ref-92) Morris, Bernadine (28 October 1976). "Paris Collections: Everything Seems to Tie in Nicely" (https://www.nytimes.com/1976/10/28/archives/paris-collections-everything-seems-to-tie-in-nicely.html) . The New York Times : 69 . Retrieved 27 March 2022 . Missoni...uses a series of drawstrings to change the shape of her clothes, sometimes dramatically. Necklines open or close, sleeves are drawn up or left to flutter, halters turn into one‐shoulder designs. ^ (#cite_ref-93) Cunningham, Bill (1 March 1989). "Designers of the World, Unite!". Details . VII (9). New York, NY: Details Publishing Corp.: 201. ISSN (/wiki/ISSN_(identifier)) 0740-4921 (https://www.worldcat.org/issn/0740-4921) . Beene used an actual laundry bag as the prototype for his 1976 collections, tying it at the waist or above the breast as a loose strapless dress. ^ (#cite_ref-94) "The New Romanticism" (https://www.nytimes.com/1977/03/06/archives/the-new-romanticism-city-side-loose-shapes-textured-fabrics-accents.html) . The New York Times : 246. 6 March 1977 . Retrieved 24 March 2022 . There's also a lot of wrapping and tying. Some clothes look like nothing more than a scarf that's been wrapped around the body...Sundresses often have matching scarves as big as shawls. ^ (#cite_ref-95) "The New Romanticism" (https://www.nytimes.com/1977/03/06/archives/the-new-romanticism-city-side-loose-shapes-textured-fabrics-accents.html) . The New York Times : 246. 6 March 1977 . Retrieved 24 March 2022 . ...[T]he new shirt...fits loosely and looks freshest when worn over, rather than tucked into, a full skirt and belted with rope. ^ (#cite_ref-96) Hyde, Nina S. (/wiki/Nina_Hyde) (24 October 1977). "Thinking Big for Spring" (https://www.washingtonpost.com/archive/lifestyle/1977/10/24/thinking-big-for-spring/69607aa7-4a9e-4e4a-882e-32172a15cdc6/) . The Washington Post . Retrieved 7 February 2022 . It's a bad year for the button makers and the zippers manufacturers since many things pull over the head or wrap loosely around the body. ^ (#cite_ref-97) Hyde, Nina S. (/wiki/Nina_Hyde) (30 October 1977). "A Vested Interest" (https://www.washingtonpost.com/archive/lifestyle/1977/10/30/a-vested-interest/9a4a2d27-f065-4450-830d-2e2e4731b779/) . The Washington Post . Retrieved 24 March 2022 . ...[W]omen are into buying and wearing shawls as fast as they can be found... ^ (#cite_ref-98) Mulvagh, Jane (1988). "1974". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 336. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . Capes or shawls were shown in all the fashion capitals, often with Cossack or toggle styling. ^ (#cite_ref-99) Nemy, Enid (22 September 1975). "Shawls: A Most Important Accessory for Fall" (https://www.nytimes.com/1975/09/22/archives/a-most-important-accessory-for-fall.html) . The New York Times : 38 . Retrieved 4 April 2022 . ...[F]ashion's most important accessory this fall—the shawl....In addition to shawls, there's a resurgence of scarves and ponchos ...Whether it be shawl, scarf or poncho..., the news is in the size. It must be big; the closer it gets to a blanket, the more effective it becomes in the fashion picture....[T]he shawls...will add a...layer to the ubiquitous layered look. ^ (#cite_ref-100) Morris, Bernadine (29 March 1977). "At Lagerfeld's Paris Show, the 18th Century Goes Modern" (https://www.nytimes.com/1977/03/29/archives/at-lagerfelds-paris-show-the-18th-century-goes-modern.html) . The New York Times : 41 . Retrieved 27 March 2022 . Coats are not the kind of fashion one hears much about these days...A poncho or a blanket is usually considered sufficient coverage for those who shiver in the show. ^ (#cite_ref-101) "Fall Signals, A Fashion Essay by Avedon". Vogue . USA: 78. 1 July 1977. For coat, read: big poncho, big cape, big shawl, serape, djellabah... ^ (#cite_ref-102) Hyde, Nina S. (/wiki/Nina_Hyde) (3 September 1978). "Uniform of the Day: Class Dress" (https://www.washingtonpost.com/archive/lifestyle/1978/09/03/uniform-of-the-day-class-dress/8a11eff9-e185-4d4e-be05-c4f5a7e9f890/) . The Washington Post . Retrieved 1 March 2022 . [Deeda Blair's winter 1977] 'uniform' was an Yves Saint Laurent costume of a cashmere skirt, wool blouse, cape and shawl,...which she always wore with dark red boots. ^ (#cite_ref-103) Hyde, Nina S. (/wiki/Nina_Hyde) (30 October 1977). "A Vested Interest" (https://www.washingtonpost.com/archive/lifestyle/1977/10/30/a-vested-interest/9a4a2d27-f065-4450-830d-2e2e4731b779/) . The Washington Post . Retrieved 24 March 2022 . The new [vests] are huge and man-sized, unlined and totally shapeless....Like the vest, the big jacket is shapeless, and often unlined so it hangs very loose. The big vest is often worn under these jackets with an oversized shirt. ^ (#cite_ref-104) Hyde, Nina S. (/wiki/Nina_Hyde) (1 November 1977). "Paris Fashion in the Fall: Big is Best" (https://www.washingtonpost.com/archive/lifestyle/1977/11/01/paris-fashion-in-the-fall-big-is-best/fa54dfc8-9030-437b-b086-5c775e258fcc/) . The Washington Post . Retrieved 24 March 2022 . Jackets are never neat and trim, but oversized to give softness and a relaxed look with sleeves pushed up, the collar turned up, and a muffler often tied around the neck. ^ (#cite_ref-105) Mulvagh, Jane (1988). "1977". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 359. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . Perry Ellis presented big, slouchy, unlined tweed jackets, worn with the sleeves rolled up, over brushed-cotton dirndl skirts. ^ (#cite_ref-106) Mulvagh, Jane (1988). "1976". Vogue History of 10th Century Fashion . London, England: Viking, the Penguin Group. p. 353. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . Miyake...presented a series of nomad's tunics and hooded dresses, as did Basile. ^ (#cite_ref-107) Hyde, Nina S. (/wiki/Nina_Hyde) (30 March 1977). "Saint Laurent: Alive and Well" (https://www.washingtonpost.com/archive/lifestyle/1977/03/30/saint-laurent-alive-and-well/3e19e351-06ec-4213-8ffb-ddfa86ecf9e3/) . The Washington Post . Retrieved 24 March 2022 . The new [cape] is a steal from the Tunisian shepherds with a tasseled hood. ^ (#cite_ref-108) Mulvagh, Jane (1988). "1975". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 339. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . ...[C]owlnecks completed the loose look. ^ (#cite_ref-109) Morris, Bernadine (19 April 1977). "Seventh Avenue Softens Up" (https://www.nytimes.com/1977/04/19/archives/seventh-avenue-softens-up.html) . The New York Times : 77 . Retrieved 17 March 2022 . Dirndl skirts in corduroy or herringbone tweed, velour sweatshirts, cowlneck sweaters and culottes are among [designer Liz Claiborne's] list of clothes... ^ (#cite_ref-110) Finley, Ruth, ed. (1 June 1974). "American Fall RTW: The Extreme vs. The Salable". Fashion International . II (9). New York, NY, USA: FI Publications Inc.: 2. ...Bishop sleeves...hang loose and open or are gathered into cuffs....Raglans...unmounted sleeves...dolmans. ^ (#cite_ref-111) Sweetinburgh, Thelma (1978). "Fashion and Dress". 1978 Britannica Book of the Year: Events of 1977 . Encyclopaedia Britannica, Inc. p. 382. ISBN (/wiki/ISBN_(identifier)) 0-85229-342-9 . ...romantic tops with drawstring necklines and billowing sleeves caught in at the wrist... ^ (#cite_ref-112) Finley, Ruth, ed. (1 April 1977). "Born Again Knits are New for Fall '77". Fashion International . V (7). New York, NY, USA: FI Publications, Inc.: 2. Sweaters are B-I-G, in both silhouette and sales expectations... ^ (#cite_ref-113) Hyde, Nina S. (/wiki/Nina_Hyde) (8 November 1977). "Plunging into a Billowy Spring" (https://www.washingtonpost.com/archive/lifestyle/1977/11/08/plunging-into-a-billowy-spring/02c3ac9d-6d23-4979-aeea-5eaa5d0bf27c/) . The Washington Post . Retrieved 4 April 2022 . ...textured knit sweaters always very loose with sleeves pushed up or rolled up and very casual. ^ (#cite_ref-114) Sweetinburgh, Thelma (1978). "Fashion and Dress". 1978 Britannica Book of the Year: Events of 1977 . Encyclopaedia Britannica, Inc. p. 382. ISBN (/wiki/ISBN_(identifier)) 0-85229-342-9 . The basic trend in Paris, London, and New York was the bloused overjacket or blouson. ^ (#cite_ref-115) Hyde, Nina S. (/wiki/Nina_Hyde) (1 November 1977). "Paris Fashion in the Fall: Big is Best" (https://www.washingtonpost.com/archive/lifestyle/1977/11/01/paris-fashion-in-the-fall-big-is-best/fa54dfc8-9030-437b-b086-5c775e258fcc/) . The Washington Post . Retrieved 24 March 2022 . Big blousons show up in leather as well as knits and wool... ^ (#cite_ref-116) Livingston, Kathryn. "Fashion". The 1978 World Book Year Book: Events of 1977 . World Book-Childcraft International, Inc. p. 322. ISBN (/wiki/ISBN_(identifier)) 0-7166-0478-7 . ...{T]he...essential outline was the blouson drawstring top over a full dirndl skirt... ^ (#cite_ref-117) Morris, Bernadine (15 August 1976). "Fashion: Paris Report" (https://www.nytimes.com/1976/08/15/archives/fashion-paris-report-peasant-luxe.html) . The New York Times : 179 . Retrieved 4 April 2022 . ...[Yves Saint Laurent] showed billowing peasant blouses... ^ (#cite_ref-118) Morris, Bernadine (9 March 1977). "Camisole: Summer's Uniform" (https://www.nytimes.com/1977/03/09/archives/article-7-no-title.html) . The New York Times : 58 . Retrieved 17 March 2022 . The flouncy off‐the‐shoulder top and the strapless tube are running strong...[T]he off-the‐shoulder peasant blouse tends to...flop around... ^ (#cite_ref-119) Russell, Mary (5 March 1978). "What They're Wearing in Paris, Milan, Tokyo" (https://www.nytimes.com/1978/03/05/archives/what-theyre-wearing-in-paris-milan-tokyo-paris-milan-paris-milan.html?searchResultPosition=12) . The New York Times : AS11 . Retrieved 7 April 2024 . ...[B]ig, soft shirts and blouses in see‐through textures worn with a falling‐off looseness. ^ (#cite_ref-120) Sweetinburgh, Thelma (1979). "Fashion and Dress". 1979 Britannica Book of the Year: Events of 1978 . Encyclopaedia Britannica, Inc. p. 378. ISBN (/wiki/ISBN_(identifier)) 0-85229-362-3 . ...jeans were paired...with soft, full-sleeved silk blouses with plunging necklines. ^ (#cite_ref-121) Morris, Bernadine (9 March 1977). "Camisole: Summer's Uniform?" (https://www.nytimes.com/1977/03/09/archives/article-7-no-title.html) . The New York Times : 58 . Retrieved 17 March 2022 . [T]he camisole promises to explode as one of the most ubiquitous fashions when the weather warms. ^ (#cite_ref-122) Sweetinburgh, Thelma (1975). "Fashion and Dress". 1975 Britannica Book of the Year: Events of 1974 . Encyclopaedia Britannica, Inc. p. 300. ISBN (/wiki/ISBN_(identifier)) 0-85229-303-8 . ...[I]n the fall [of 1974] the dress finally reentered the scene. With volume at the height of fashion, it looked very different....often like an overdress or a smock, cut with deep kimono armholes and hardly any seams... ^ (#cite_ref-123) Mulvagh, Jane (1988). "1975". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 339. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . Kenzo...produced...smocks, tent dresses and huge striped dungarees...The loose smock dress was also found at Rykiel, Muir, Saint Laurent, Burrows and Calvin Klein. ^ (#cite_ref-124) Morris, Bernadine (7 August 1975). "Reporter's Notebook: In Paris, Beating the Heat and the Pavement" (https://www.nytimes.com/1975/08/07/archives/reporters-notebook-in-paris-beating-the-heat-and-the-pavement.html) . The New York Times : 53 . Retrieved 10 March 2022 . ...[I]t was not unusual to see a woman in a long, loose, smock‐like dress maneuvering on a bicycle or a motor bike... ^ (#cite_ref-125) "The Big Bag Dress" (https://www.nytimes.com/1977/07/31/archives/the-big-bag-dress.html) . The New York Times : 35–37. 31 July 1977 . Retrieved 17 May 2023 . Everybody is talking about the 'new' fall dress....It's as big, as blousy, as shapeless as a gunnysack, and it's worn as loose as a bubble, or caught somewhere with a belt....The big dress bloused up into a blouson bubble top. With a shawl thrown over one shoulder it's an excellent example of the new big look. ^ (#cite_ref-126) Hyde, Nina S. (/wiki/Nina_Hyde) (16 November 1978). "The Spring Uniform" (https://www.washingtonpost.com/archive/lifestyle/1978/11/16/the-spring-uniform/68c7eec2-b80f-4fb5-b4ab-82caa9c7cf45/) . The Washington Post . Retrieved 4 April 2022 . ...[T]he warm-weather uniform was a big tent dress with minimum underpinnings... ^ (#cite_ref-127) Evans, Eli N. (24 August 1975). "The Emperor's Fall Clothes" (https://www.nytimes.com/1975/08/24/archives/the-emperors-fall-clothes-the-layered-look-looked-hotter-than-a.html) . The New York Times : 213 . Retrieved 24 March 2022 . [T]he tent dress...surely ranks as the most democratic garment out of Paris in decades. ^ (#cite_ref-128) Klemesrud, Judy (27 August 1975). "The Dress Called the 'Droop': A Success Story Despite It All" (https://www.nytimes.com/1975/08/27/archives/the-dress-called-the-droop-a-success-story-despite-it-all.html) . The New York Times : 29 . Retrieved 24 March 2022 . On a recent sunny day on Fifth Avenue, the droops [tent dresses] were out in droves, completely concealing even the shapeliest woman's protrusions and inversions. ^ (#cite_ref-129) Morris, Bernadine (5 August 1976). "A Parisian Solution for Summer '76" (https://www.nytimes.com/1976/08/05/archives/a-parisian-solution-for-summer-76.html) . The New York Times : 50 . Retrieved 10 March 2022 . ...[T]he women of Paris are swinging along the streets in the most comfortable, cool easy fashion anyone can remember. It's a billowing sunback dress, made out of any kind of cotton fabric ...It requires little or no undergarments, it could double for a maternity dress...The prototype had a taut band at the bustline, thereby eliminating the need for a bra, and was loose everywhere else. ^ (#cite_ref-130) Morris, Bernadine (12 October 1976). "Fashion, Straight from the Shoulder" (https://www.nytimes.com/1976/10/12/archives/fashion-straight-from-the-shoulder.html) . The New York Times : 52 . Retrieved 4 April 2022 . Geoffrey Beene introduced the strapless mode in sundresses a few seasons back and was...pleased with its effortless look...He points out that many women have become accustomed to going without bras, thus obviating the need for torturous undergarments....'What's marvelous about the new strapless dresses is you tie yourself into them the way you tie a scarf—it's the freest way of dressing,' [Grace Mirabella] explained. 'Once you get into them, you never think about them again'... ^ (#cite_ref-131) Mulvagh, Jane (1988). "1974". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 337. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . [T]he hemline was anywhere from 3 inches below the knee to the ankle. ^ (#cite_ref-132) Finley, Ruth, ed. (1 May 1974). "Paris RTW Predicts a Long, Layered Winter". Fashion International . II (8). New York, NY, USA: FI Publications, Inc.: 1. Lengths – in a word, down – 60 percent below knee, 25 percent midcalf, 15 percent just above ankle. ^ (#cite_ref-133) Sweetinburgh, Thelma (1978). "Fashion and Dress". 1978 Britannica Book of the Year: Events of 1977 . Encyclopaedia Britannica, Inc. p. 383. ISBN (/wiki/ISBN_(identifier)) 0-85229-342-9 . Some of the blousons were so inflated that they turned into mini-tunics, needing only matching socks over tights to complete the outfit. ^ (#cite_ref-134) Finley, Ruth, ed. (1 April 1977). "European Fashion Fair: The Soft Touch". Fashion International . V (7). New York, NY, USA: FI Publications Inc.: 1. Big, bulky blouson sweaters...long enough to wear as tunic or mini. ^ (#cite_ref-135) Morris, Bernadine (28 November 1976). "Paris Report" (https://www.nytimes.com/1976/11/28/archives/fashion-paris-report-sunstruck-styles.html) . The New York Times : 237 . Retrieved 10 March 2022 . [The mini']s most dramatic form is the voluminous smock that Kenzo devised, always belted at the hips. But other designers showed shirts as dresses... ^ (#cite_ref-136) Morris, Bernadine (29 March 1977). "At Lagerfeld's Paris Show, the 18th Century Goes Modern" (https://www.nytimes.com/1977/03/29/archives/at-lagerfelds-paris-show-the-18th-century-goes-modern.html) . The New York Times : 41 . Retrieved 4 April 2022 . Lagerfeld...made the question of skirt length irrelevant. He showed them all, from very short to very long....What is very apparent about the dresses is their fullness....They're smocklike affairs...If they're short, you can see the boot tops. The boots come up over the knee... ^ (#cite_ref-137) Morris, Bernadine (28 March 1977). "Paris: Free-Flowing Excitement and Short Skirts" (https://www.nytimes.com/1977/03/28/archives/paris-freeflowing-excitement-and-short-skirts.html) . The New York Times : 26 . Retrieved 22 June 2022 . ...[S]hort skirts...also turned up in the...collections. They usually take the form of bulky sweaters, tunics over tights, ribbed stockings, boots, leggings... ^ (#cite_ref-138) Morris, Bernadine (29 March 1977). "At Lagerfeld's Paris Show, the 18th Century Goes Modern" (https://www.nytimes.com/1977/03/29/archives/at-lagerfelds-paris-show-the-18th-century-goes-modern.html) . The New York Times . Retrieved 27 March 2022 . Skirts are big and roomy, but then they are also split so that legs show. ^ (#cite_ref-139) Morris, Bernadine (1 August 1976). "Paris Glorified the Peasant, Yes, But That's Not All" (https://www.nytimes.com/1976/08/01/archives/paris-glorified-the-peasant-yes-but-thats-not-all.html) . The New York Times : 52 . Retrieved 11 March 2022 . ...[T]he world will be swirling in dirndl skirts... ^ (#cite_ref-140) "The New Romanticism" (https://www.nytimes.com/1977/03/06/archives/the-new-romanticism-city-side-loose-shapes-textured-fabrics-accents.html) . The New York Times : 246. 6 March 1977 . Retrieved 24 March 2022 . ...[T]he skirt of the year is the dirndl. It ranges from moderately full to quite full, it's calf‐length or a bit longer, and it's balanced by fullness at the top. ^ (#cite_ref-141) Morris, Bernadine (23 October 1974). "Enthusiasm in Paris Over State of Fashion" (https://www.nytimes.com/1974/10/23/archives/enthusiasm-in-paris-over-state-of-fashion-noticeably-bare-booth.html) . The New York Times : 50 . Retrieved 11 March 2022 . Chloé...is big on dirndl skirts... ^ (#cite_ref-142) Tolbert, Kathryn (18 August 1974). "Fashion is Big in Japan – If It's French, British or American" (https://www.nytimes.com/1974/08/18/archives/fashion-is-big-in-japan-if-its-french-british-or-american-influence.html) . The New York Times : 44 . Retrieved 10 March 2022 . ...[M]id‐calf peasant‐style dresses are the choices of college students and working girls... ^ (#cite_ref-143) Sweetinburgh, Thelma. "Fashion and Dress". 1978 Britannica Book of the Year: Events of 1977 . Encyclopaedia Britannica, Inc. pp. 382–383. ISBN (/wiki/ISBN_(identifier)) 0-85229-342-9 . ...the favorite – the gypsy skirt. As three-tiered, gathered petticoat skirts undulated along city sidewalks, the streets seemed to be alive with gypsies...The London streets had their share of gypsy skirts, often in hand-blocked Indian cottons... ^ (#cite_ref-144) Sweetinburgh, Thelma. "Fashion and Dress". 1979 Britannica Book of the Year: Events of 1978 . Encyclopaedia Britannica, Inc. p. 378. ISBN (/wiki/ISBN_(identifier)) 0-85229-362-3 . Transparent cotton voile was preferred for huge skirts with petticoat tiers and lingerie tucks. ^ (#cite_ref-145) Morris, Bernadine (4 April 1973). "Kenzo Displays His Imagination With a Fun-Filled Show in Paris" (https://www.nytimes.com/1973/04/04/archives/kenzo-displays-his-imagination-with-a-funfilled-fashion-show-in.html) . The New York Times : 38 . Retrieved 31 December 2021 . [Kenzo's] dresses with embroidered white petticoats worn under them. ^ (#cite_ref-146) Morris, Bernadine (10 November 1977). "Spring Fashions: A Little Something for Everyone" (https://www.nytimes.com/1977/11/10/archives/westchester-opinion-spring-fashions-a-little-something-for.html) . The New York Times : 65 . Retrieved 31 December 2021 . There's usually an underskirt in a blending natural tone, worn with the full skirt. ^ (#cite_ref-147) Morris, Bernadine (21 November 1976). "Fashion Designers: Names You Should Know" (https://www.nytimes.com/1976/11/21/archives/fashion-designers-names-you-should-watch-for.html) . The New York Times : 68 . Retrieved 10 March 2022 . Skirts in one or the other pattern are piled on top of each other, as many as three at a time... ^ (#cite_ref-148) Morris, Bernadine (7 April 1976). "Saint Laurent Was Hailed and Adored; For Kenzo, Tumult and Frenzy" (https://www.nytimes.com/1976/04/07/archives/saint-laurent-was-hailed-and-adored-for-kenzo-tumult-and-frenzy.html) . The New York Times : 47 . Retrieved 16 February 2022 . [Yves Saint Laurent's] skirts are hiked up to show petticoats. ^ (#cite_ref-149) Morris, Bernadine (30 May 1974). "For Day or Night, Pants are a Way of Life" (https://www.nytimes.com/1974/05/30/archives/for-day-or-night-pants-are-a-way-of-life.html) . The New York Times : 28 . Retrieved 7 November 2022 . Geoffrey Beene's distinctive pants with pleats at the waist and full, but not flared, legs, introduced a while back, were so well received they've been developed in everything from flannel to crepe for fall. ^ (#cite_ref-150) Morris, Bernadine (19 April 1977). "Seventh Avenue Softens Up" (https://www.nytimes.com/1977/04/19/archives/seventh-avenue-softens-up.html) . The New York Times : 77 . Retrieved 17 March 2022 . [Liz Claiborne] makes her culottes shorter than her dirndl skirts, stopping just below the knee so the hem meets the boot top. ^ (#cite_ref-151) Morris, Bernadine (23 July 1976). "On the Sidewalks of New York, a New Silhouette for Pants" (https://www.nytimes.com/1976/07/23/archives/on-the-sidewalks-of-new-york-a-new-silhouette-for-pants.html) . The New York Times : 33 . Retrieved 10 March 2022 . ^ (#cite_ref-152) Morris, Bernadine (30 May 1974). "For Day or Night, Pants are a Way of Life" (https://www.nytimes.com/1974/05/30/archives/for-day-or-night-pants-are-a-way-of-life.html) . The New York Times : 28 . Retrieved 7 November 2022 . Daytime pants tend to be straighter and trimmer than they have been to balance the bigger tops... ^ (#cite_ref-153) Hyde, Nina S. (/wiki/Nina_Hyde) (24 October 1977). "Thinking Big for Spring" (https://www.washingtonpost.com/archive/lifestyle/1977/10/24/thinking-big-for-spring/69607aa7-4a9e-4e4a-882e-32172a15cdc6/) . The Washington Post . Retrieved 7 February 2022 . Pants are around in every possible length as long as they are not man-tailored but rather soft. They are always baggy at the top, tapered to the ankle. ^ (#cite_ref-154) Elkins, Ann M. "Fashion". The Americana Annual 1978: An Encyclopedia of the Events of 1977 . Grolier Incorporated. p. 204. ISBN (/wiki/ISBN_(identifier)) 0-7172-0419-7 . The...new pants silhouette was...pants that were narrowed through the leg, pegged at the ankle, and cut long to buckle and drape or 'slouch' over boots or...shoes. ^ (#cite_ref-155) Morris, Bernadine (14 June 1977). "New Designers Add Perspective to Fall Fashions" (https://www.nytimes.com/1977/06/14/archives/new-designers-add-perspective-to-fall-fashions.html) . The New York Times : 48 . Retrieved 31 December 2021 . [Perry Ellis's] clothes have a totally relaxed look, exemplified by the tapered pants which he cuts too long so they bunch up over the ankles. ^ (#cite_ref-156) "From the Sands of Morocco to the Sidewalks of New York" (https://www.nytimes.com/1975/12/03/archives/from-the-sands-of-morocco-to-the-sidewalks-of-new-york.html) . The New York Times : 56. 3 December 1975 . Retrieved 8 March 2022 . [M]annequins trooped out wearing Valentino's ballooning harem pants in striped silk, Issey Miyake's jumpsuit with wide-as‐a‐tent pants caught in at the ankle,...and Marc Bohan's parachute pants....Oscar de la Renta came up with a much‐admired spring collection of gauzy, striped and Moroccan‐looking harem pants... ^ (#cite_ref-157) Morris, Bernadine (28 November 1976). "Paris Report" (https://www.nytimes.com/1976/11/28/archives/fashion-paris-report-sunstruck-styles.html) . The New York Times : 237 . Retrieved 10 March 2022 . ...[T]rousers...are...longer, billowing Zouave pants. Then there's another category of pants that wraps and ties like the Indian dhoti or diapers. ^ (#cite_ref-158) Hyde, Nina S. (/wiki/Nina_Hyde) (24 October 1977). "Thinking Big for Spring" (https://www.washingtonpost.com/archive/lifestyle/1977/10/24/thinking-big-for-spring/69607aa7-4a9e-4e4a-882e-32172a15cdc6/) . The Washington Post . Retrieved 7 February 2022 . Among the assortment in pants styles are the dhotis and sarouls (Moroccan draped pants), both of which look a bit like droopy diapers as they wrap between the legs, harem pants, and bloomers of all sorts. ^ (#cite_ref-159) Morris, Bernadine (26 November 1977). "The Loose Look is Easing into Spring" (https://www.nytimes.com/1977/11/26/archives/the-loose-look-is-easing-into-spring.html) . The New York Times : 36 . Retrieved 4 April 2022 . ...[C]omfort is indeed the keynote to clothes today. It is the reason for the loose fit, the lack of construction, the elimination of hemlines, the concentration on gossamer‐weight fabrics. ^ (#cite_ref-160) Morris, Bernadine (13 January 1978). "Fashion: A Look at the Simple Truth" (https://www.nytimes.com/1978/01/13/archives/fashion-a-look-at-the-simple-truth.html) . The New York Times : B4 . Retrieved 9 January 2022 . With a generation of office workers and executives going to work in T-shirts and blue jeans, formality in fashion was becoming a thing of the past....[I]t is possible for a woman to go anywhere, including black‐tie dinners, in a shirt and pants....Simplicity is the rule, and there's no need for a woman to clutter her closets with a lot of clothes...It is part of the simplification of life that comes under the heading of modernity. So is the fact that most clothes are soft and unstructured as well as interchangeable. ^ (#cite_ref-161) Morris, Bernadine (1 January 1976). "70's Fashion: Sportswear at the Summit" (https://www.nytimes.com/1976/01/01/archives/70s-fashion-sportswear-at-the-summit-hemlines-stabilized.html) . The New York Times : 36 . Retrieved 10 December 2021 . [T]he 1970's will be marked by clothes divided into many easy pieces that can be added to or subtracted from, according to the weather, personal preferences and the feeling of the moment.... Construction will continue to be simplified so that clothes become increasingly less bulky and more flowing. The style of the 1970's is low on artifice, high on a natural look. Casual is the operative word. ^ (#cite_ref-162) Hyde, Nina S. (/wiki/Nina_Hyde) (24 October 1977). "Thinking Big for Spring" (https://www.washingtonpost.com/archive/lifestyle/1977/10/24/thinking-big-for-spring/69607aa7-4a9e-4e4a-882e-32172a15cdc6/) . The Washington Post . Retrieved 7 February 2022 . ...[I]f sleeves are too long, you push them up on jackets, blouses, shirts, dresses – whatever. (Even if they fit perfectly, you push them up.) ^ (#cite_ref-163) "The New Romanticism" (https://www.nytimes.com/1977/03/06/archives/the-new-romanticism-city-side-loose-shapes-textured-fabrics-accents.html) . The New York Times : 246. 6 March 1977 . Retrieved 24 March 2022 . ...[T]he newest‐looking jackets are nothing more than oversized shirts worn open and with the sleeves rolled up. Those rolled‐up sleeves are important on all kinds of blouses and shirts... ^ (#cite_ref-164) Morris, Bernadine (14 June 1977). "New Designers Add Perspective to Fall Fashions" (https://www.nytimes.com/1977/06/14/archives/new-designers-add-perspective-to-fall-fashions.html) . The New York Times : 48 . Retrieved 31 December 2021 . [Perry Ellis] likes sleeves rolled up... ^ (#cite_ref-165) Hyde, Nina S. (/wiki/Nina_Hyde) (11 December 1977). "Fashion Notes" (https://www.washingtonpost.com/archive/lifestyle/1977/12/11/fashion-notes/a1155dcd-3611-49eb-86ba-71f6b656d0b9/) . The Washington Post . Retrieved 24 March 2022 . There was remarkably little jewelry shown, except...the bangle bracelets at several designers and the ethnic necklaces at Yves Saint Laurent. At Geoffrey Beene and elsewhere, jewelry was replaced by silk flowers strung on a long silk cord. ^ (#cite_ref-166) Hyde, Nina S. (/wiki/Nina_Hyde) (8 May 1977). "Full Bloom" (https://www.washingtonpost.com/archive/lifestyle/1977/05/08/full-bloom/66750468-2d66-44a9-aaac-53c23f403a00/) . The Washington Post . Retrieved 24 March 2022 . Suddenly it seems right to leave your jewelry in the drawer and start wearing flowers. Flowers on the lapel update last year's blazer. Flowers in the hair, around the neck, at the wrist or the ankle are appropriate with the new softer clothes... ^ (#cite_ref-167) "Fall Signals, A Fashion Essay by Avedon". Vogue . USA: 78. 1 July 1977. ...a necklace of silver threads with a stone hung on it, or chunks of glazed terra-cotta slipped through a macramé cord... ^ (#cite_ref-168) Livingston, Kathryn. "Fashion". The 1978 World Book Year Book: Events of 1977 . World Book-Childcraft International, Inc. p. 323. ISBN (/wiki/ISBN_(identifier)) 0-7166-0478-7 . ...braided woolly yarns hung with chunks of minerals... ^ (#cite_ref-169) Nemy, Enid (5 January 1977). "Discoveries" (https://www.nytimes.com/1977/01/05/archives/discoveries-sculpture-soft-as-silk-discoveries.html) . The New York Times . Retrieved 24 March 2022 . [S]tickpins are big this season... ^ (#cite_ref-170) Barmash, Isadore (20 December 1977). "Sales in Most Areas Up by 10% to 15%" (https://www.nytimes.com/1977/12/20/archives/sales-in-most-areas-up-by-10-to-15-retailers-basking-in-afterglow.html) . The New York Times : 61 . Retrieved 24 March 2022 . What was selling well? 'Stickpins with the antique look,' replied C. Hal Silver, chairman of Kaufmann's, one of Pittsburgh's largest stores. ^ (#cite_ref-171) "Fall Signals, A Fashion Essay by Avedon". Vogue . USA: 78. 1 July 1977. ...a belt that's a length of patterned knitting to wrap and wrap and knot at the waist, or a long rope of yarn twisted with bronze metallic... ^ (#cite_ref-172) "Fashion Things for Spring" (https://www.nytimes.com/1978/01/15/archives/fashion-things-for-spring.html) . The New York Times : SM12. 15 January 1978 . Retrieved 4 April 2022 . The new spring accessories are as soft...as the clothes they accompany: long leather belts that can be wrapped around and across the body in unconventional ways... ^ (#cite_ref-173) Morris, Bernadine (10 April 1977). "Preview What's Coming in Fashion" (https://www.nytimes.com/1977/04/10/archives/preview-whats-coming-in-fashion-paris.html) . The New York Times : SM39 . Retrieved 10 February 2022 . ...[L]egs are invariably clad in heavy ribbed tights, leg warmers and boots. ^ (#cite_ref-174) Hyde, Nina S. (/wiki/Nina_Hyde) (9 October 1977). "Fashion Notes" (https://www.washingtonpost.com/archive/lifestyle/1977/10/09/fashion-notes/20b4e610-5338-4348-9385-ee6319a2eaba/) . The Washington Post . Retrieved 24 March 2022 . Everything else is layered for warmth this fall: Why not legs?...Legs get a foothold against the cold with layers that start with pantyhose, add legwarmers...and finish with knee socks or anklets. ^ (#cite_ref-175) Crenshaw, Mary Ann (2 November 1975). "Fashion: Lesser Boots" (https://www.nytimes.com/1975/11/02/archives/fashion-lesser-boots.html) . The New York Times : 273 . Retrieved 4 April 2022 . The look of a shorter boot, topped (often) by thick, ribbed stockings—and sometimes even knee socks over those—gives an entirely new proportion... ^ (#cite_ref-176) Crenshaw, Mary Ann (12 October 1975). "Fashion" (https://www.nytimes.com/1975/10/12/archives/fashion-warmups.html) . The New York Times : 279 . Retrieved 10 February 2022 . Fashion's leg warmers come in wonderful patterns, in solid colors for more subdued warmth, and can be worn thigh‐high over tight pants (by the very young) or pushed low over boots or shoes. Some of the best leg warmers are hand‐knit and ethnic‐patterned. ^ (#cite_ref-177) Hyde, Nina S. (/wiki/Nina_Hyde) (8 May 1977). "Fashion Notes" (https://www.washingtonpost.com/archive/lifestyle/1977/05/08/fashion-notes/389d7639-d2d6-45e3-ac5a-49febede4949/) . The Washington Post . Retrieved 4 April 2022 . One signature of the Paris fashion trendies that has started to show up in New York is wearing socks with sandals and espadrilles. ^ (#cite_ref-178) Hyde, Nina S. (/wiki/Nina_Hyde) (19 June 1977). "Fashion Notes" (https://www.washingtonpost.com/archive/lifestyle/1977/06/19/fashion-notes/c17bef0a-316c-4b0e-bc37-fe0b50a736ab/) . The Washington Post . Retrieved 24 March 2022 . ...sandals, both flat and high heels worn with anklets... ^ (#cite_ref-179) Morris, Bernadine (14 June 1977). "New Designers Add Perspective to Fall Fashions" (https://www.nytimes.com/1977/06/14/archives/new-designers-add-perspective-to-fall-fashions.html) . The New York Times : 48 . Retrieved 31 December 2021 . [Perry Ellis]...feels that two pairs of socks, one baggy, give the proper contrast to the flouncy [underskirts]. ^ (#cite_ref-180) Hyde, Nina S. (/wiki/Nina_Hyde) (16 November 1978). "The Spring Uniform" (https://www.washingtonpost.com/archive/lifestyle/1978/11/16/the-spring-uniform/68c7eec2-b80f-4fb5-b4ab-82caa9c7cf45/) . The Washington Post . Retrieved 4 April 2022 . ...[T]he warm-weather uniform was a big tent dress with...flat or high-heeled scandals. ^ (#cite_ref-181) "Fashion Things for Spring" (https://www.nytimes.com/1978/01/15/archives/fashion-things-for-spring.html) . The New York Times : SM12. 15 January 1978 . Retrieved 4 April 2022 . ...bare, tiny‐strapped sandals with delicate ties at the ankles... ^ (#cite_ref-182) Morris, Bernadine (22 February 1977). "What's Afoot in Shoes for Next Winter?" (https://www.nytimes.com/1977/02/22/archives/whats-afoot-in-shoes-for-next-winter.html) . The New York Times : 26 . Retrieved 24 March 2022 . ...[H]eels are almost inevitably paired with naked strap arrangements... ^ (#cite_ref-183) Morris, Bernadine (14 August 1976). "U.S. Shoe Companies are Getting a Foot Back in the Door" (https://www.nytimes.com/1976/08/14/archives/us-shoe-companies-are-getting-a-foot-back-in-the-door.html) . The New York Times : 38 . Retrieved 10 March 2022 . Diane Von Furstenberg's shoes for Golo are mostly open sandals, high‐heeled or flat... ^ (#cite_ref-184) Morris, Bernadine (7 August 1975). "Reporter's Notebook: In Paris, Beating the Heat and the Pavement" (https://www.nytimes.com/1975/08/07/archives/reporters-notebook-in-paris-beating-the-heat-and-the-pavement.html) . The New York Times : 53 . Retrieved 10 March 2022 . ...[E]very second woman was wearing shoes with...laces around the ankle. Many were a kind of espadrille... ^ (#cite_ref-185) Morris, Bernadine (23 July 1976). "On the Sidewalks of New York, a New Silhouette for Pants" (https://www.nytimes.com/1976/07/23/archives/on-the-sidewalks-of-new-york-a-new-silhouette-for-pants.html) . The New York Times : 33 . Retrieved 10 March 2022 . Christine Herskowitz, heading toward Central Park with a group of friends, simply tied the laces of her espadrilles around the legs of her pants [to achieve]...the puffed pants look. ^ (#cite_ref-186) Morris, Bernadine (5 August 1976). "A Parisian Solution for Summer '76" (https://www.nytimes.com/1976/08/05/archives/a-parisian-solution-for-summer-76.html) . The New York Times : 50 . Retrieved 10 March 2022 . ...[T]he cotton sundress prevails on the Left and Right Banks in Paris this summer....[S]houlder bags and espadrilles are the usual accompaniment. ^ (#cite_ref-187) Livingston, Kathryn Zahony (1997). "Fashion". The 1975 World Book Year Book: Events of 1974 . Field Enterprises Educational Corporation. p. 328. ISBN (/wiki/ISBN_(identifier)) 0-7166-0475-2 . ...high-heeled, baggily crushed boots were essential to the Big Look. ^ (#cite_ref-188) Donehoo, Patricia A. (1975). "Fashion". The Americana Annual 1975: An Encyclopedia of the Events of 1974 . Grolier Incorporated. p. 248. ISBN (/wiki/ISBN_(identifier)) 0-7172-0206-2 . Boots became the important foot fashion in 1974, possibly because they paired off so well with the voluminous capes and skirts....The new riding-type boots with their wider outlines and soft crushed ankles provided just the right note. ^ (#cite_ref-189) Peake, Andy (2018). "The New Ease in Fashion". Made for Walking . Atglen, Pennsylvania: Schiffer Fashion Press. pp. 113–115. ISBN (/wiki/ISBN_(identifier)) 978-0-7643-5499-1 . Saint Laurent's [1974 Russian-themed] collection featured...a new, and very distinctive, style of knee-length fashion boot....[T]he new boot was loose-fitting, touching the leg rather than clinging to it, and falling in extravagant folds as the soft leather crushed around the ankle....[T]he new boots quickly became known as 'Cossack boots'...In 1975, the New York Times was referring to the style as the 'Boot of the Year.'...[T]his was by far the most common style of fashion boot from the mid-1970s...'Baggy boots' is how the U.K. fashion press and mail-order catalogs were referring to them in 1974 and 1975... ^ (#cite_ref-190) "Great New Fall Boots". Harper's Bazaar . 1 July 1977. Boots go everywhere, and to all lengths, from ankle to thigh. ... 'The length of boots is based on the proportion of the clothes they are to be worn with ...' – Yves Saint Laurent. Over-the-knee tan suede-and-calf boot ... [w]ith leather thongs to tie high or low, tight or loose ... [b]y Yves Saint Laurent. ... Mid-calf luggage boot in calf leather ... [b]y Yves Saint Laurent... ^ (#cite_ref-191) Morris, Bernadine (10 April 1977). "Preview What's Coming in Fashion" (https://www.nytimes.com/1977/04/10/archives/preview-whats-coming-in-fashion-paris.html) . The New York Times : SM39 . Retrieved 10 February 2022 . ...[L]egs are invariably clad in heavy ribbed tights, leg warmers and boots. Over‐the‐knee and calf‐high are the newest heights for boots, but they do not exclude anything in between. ^ (#cite_ref-192) Morris, Bernadine (29 March 1977). "At Lagerfeld's Paris Show, the 18th Century Goes Modern" (https://www.nytimes.com/1977/03/29/archives/at-lagerfelds-paris-show-the-18th-century-goes-modern.html) . The New York Times : 41 . Retrieved 27 March 2022 . The legs are clad in ribbed tights and over‐the‐knee boots... ^ (#cite_ref-193) Morris, Bernadine (23 October 1974). "Enthusiasm in Paris Over State of Fashion" (https://www.nytimes.com/1974/10/23/archives/enthusiasm-in-paris-over-state-of-fashion-noticeably-bare-booth.html) . The New York Times : 50 . Retrieved 10 February 2022 . Every French woman has apparently spent $100 for her high‐heeled, modishly crushed boots, the knee‐high tops of which are concealed by her flaring calf‐length skirt. All this is sheltered, as often as not, by a voluminous coat, cape or coat with a capelet top. ^ (#cite_ref-194) Peake, Andy (2018). "The New Ease in Fashion". Made for Walking . Atglen, Pennsylvania: Schiffer Fashion Group. p. 115. ISBN (/wiki/ISBN_(identifier)) 978-0-7643-5499-1 . ...[T]he new boot featured stacked heels in material like wood. ^ (#cite_ref-195) Morris, Bernadine (28 July 1973). "Couture Scorecard: Good is Quite Good" (https://www.nytimes.com/1973/07/28/archives/couture-scorecard-good-is-quite-good-special-cachet.html) . The New York Times : 28 . Retrieved 16 March 2022 . ...[T]he heels aren't the spindly, needle‐like variety that caught in subway grates. They're thick enough to look sturdy. ^ (#cite_ref-196) Morris, Bernadine (22 February 1977). "What's Afoot in Shoes for Next Winter?" (https://www.nytimes.com/1977/02/22/archives/whats-afoot-in-shoes-for-next-winter.html) . The New York Times : 26 . Retrieved 24 March 2022 . David Evins, the doyen of shoe designers, is proud of his newest heel, which he terms 'perfectly balanced.' It looks more stiletto‐like than it actually is, due to its shape, which is almost straight at the back. ^ (#cite_ref-197) Hyde, Nina S. (/wiki/Nina_Hyde) (13 November 1977). "Comings and Goings at Studio 54" (https://www.washingtonpost.com/archive/lifestyle/1977/11/13/comings-and-goings-at-studio-54/5be9f11b-a927-4bea-a6c4-62358a75c28f/) . The Washington Post . Retrieved 4 April 2022 . Makeup on the runway...remains very natural looking. ^ (#cite_ref-198) Hyde, Nina S. (/wiki/Nina_Hyde) (21 September 1978). "Saint Laurent: On the Scent of a New 'Seduction' (https://www.washingtonpost.com/archive/lifestyle/1978/09/21/saint-laurent-on-the-scent-of-a-new-seduction/8a19f270-4c0b-4dbd-ab8d-2182863ed7f8/) " (https://www.washingtonpost.com/archive/lifestyle/1978/09/21/saint-laurent-on-the-scent-of-a-new-seduction/8a19f270-4c0b-4dbd-ab8d-2182863ed7f8/) . The Washington Post . Retrieved 1 March 2022 . [During the looseness of the Big Look, Saint Laurent] says,...'[W]omen...didn't bother with cosmetics'. ^ (#cite_ref-199) Donovan, Carrie (28 August 1977). "Feminism's Effect on Fashion" (https://www.nytimes.com/1977/08/28/archives/feminisms-effect-on-fashion.html) . The New York Times : 225 . Retrieved 10 December 2021 . The current fashion is to let nature take its course and to let the hair hang, or kink, the way it wants. ^ (#cite_ref-200) Taylor, Angela (15 April 1974). "The Make-up Experts, Each With Tricks to Reveal" (https://www.nytimes.com/1974/04/15/archives/the-makeup-experts-each-with-tricks-to-reveal.html) . The New York Times : 37 . Retrieved 24 March 2022 . The shop's favorite rouge for everyone is a tawny brown one... ^ (#cite_ref-201) "The New Romanticism" (https://www.nytimes.com/1977/03/06/archives/the-new-romanticism-city-side-loose-shapes-textured-fabrics-accents.html) . The New York Times : 246. 6 March 1977 . Retrieved 24 March 2022 . ...[C]lothes call for shining, natural‐looking hair. adorned, if at all, with fragile flowers or...combs. ^ (#cite_ref-202) "Fashion Things for Spring" (https://www.nytimes.com/1978/01/15/archives/fashion-things-for-spring.html) . The New York Times : SM12. 15 January 1978 . Retrieved 4 April 2022 . ...a couple of wooden combs in loosely tied hair.... ^ (#cite_ref-203) "The Year" (https://www.nytimes.com/1974/07/28/archives/the-year-of-the-beret-fashion.html) . The New York Times : 236. 28 July 1974 . Retrieved 24 March 2022 . Berets won almost unanimous approval with fashion designers for fall... ^ (#cite_ref-204) Morris, Bernadine (7 July 1974). "Formal to Casual: Accessories, Too, Follow the Trend" (https://www.nytimes.com/1974/07/07/archives/formal-to-casual-accessories-too-follow-the-trend.html) . The New York Times : 38 . Retrieved 24 March 2022 . The most popular...is the beret....Hair fluffs out around the edges or is completely concealed within, as in the second most popular hat: the knitted cap. ^ (#cite_ref-205) Donehoo, Patricia A. (1975). "Fashion". The Americana Annual 1975: An Encyclopedia of the Events of 1974 . Grolier Incorporated. p. 248. ISBN (/wiki/ISBN_(identifier)) 0-7172-0206-2 . The St. Laurent rolled-brim knit cap was so sought-after that it was copied at every price. ^ (#cite_ref-206) Hyde, Nina S. (/wiki/Nina_Hyde) (1 November 1977). "Paris Fashions in the Fall: Big is Best" (https://www.washingtonpost.com/archive/lifestyle/1977/11/01/paris-fashion-in-the-fall-big-is-best/fa54dfc8-9030-437b-b086-5c775e258fcc/) . The Washington Post . Retrieved 10 December 2021 . Hats, pulled down to the eyebrows..., are...knit caps with tiny rolled edges. ^ (#cite_ref-207) "Summer Skimmer: The Old Straw Hat" (https://www.nytimes.com/1978/05/31/archives/summer-skimmer-the-old-straw-hat.html) . The New York Times : C10. 31 May 1978 . Retrieved 24 March 2022 . ...[T]he straws in the spring breeze indicate that this summer's hot hat is the old favorite that goes by the name of skimmer, boater or sailor. ^ (#cite_ref-208) Hyde, Nina S. (/wiki/Nina_Hyde) (8 November 1977). "Plunging into a Billowy Spring" (https://www.washingtonpost.com/archive/lifestyle/1977/11/08/plunging-into-a-billowy-spring/02c3ac9d-6d23-4979-aeea-5eaa5d0bf27c/) . The Washington Post . Retrieved 4 April 2022 . What is on view here is an assortment of loose, uncomplicated, sexy clothes in the lightest-weight cottons, silks and wools, all very see-throughable and clearly meant to be seen-through to the little or no underwear underneath. ^ (#cite_ref-209) Morris, Bernadine (26 November 1977). "The Loose Look is Easing into Spring" (https://www.nytimes.com/1977/11/26/archives/the-loose-look-is-easing-into-spring.html) . The New York Times : 36 . Retrieved 4 April 2022 . Because the fabrics are thin and supple, the clothes are indeed sexy, though it's not the blatant sort of sexiness that comes from tight skirts... ^ (#cite_ref-210) Sweetinburgh, Thelma (1979). "Fashion and Dress". 1979 Britannica Book of the Year: Events of 1978 . Encyclopaedia Britannica, Inc. p. 378. ISBN (/wiki/ISBN_(identifier)) 0-85229-362-3 . Free-moving, soft, blousy, strapless tops were gathered by a cord at breast level... ^ (#cite_ref-211) "The New Romanticism" (https://www.nytimes.com/1977/03/06/archives/the-new-romanticism-city-side-loose-shapes-textured-fabrics-accents.html) . The New York Times : 246. 6 March 1977 . Retrieved 24 March 2022 . Skin is revealed by rolled-up sleeves, shirts left unbuttoned, blouses that slide off the shoulder, see‐through fish nets and sundresses. ^ (#cite_ref-212) Hyde, Nina S. (/wiki/Nina_Hyde) (24 October 1977). "Thinking Big for Spring" (https://www.washingtonpost.com/archive/lifestyle/1977/10/24/thinking-big-for-spring/69607aa7-4a9e-4e4a-882e-32172a15cdc6/) . The Washington Post . Retrieved 7 February 2022 . It is a good year for the fat and the pregnant, since no clothes are ever too full, yet a better year for the skinny, since everything, unless well cut in light fabrics – tends to make you look as huge as Versailles even when you are not. ^ (#cite_ref-213) Morris, Bernadine (5 March 1975). "Will It Be Full Dresses or Narrow – or Back to Living in Jeans?" (https://www.nytimes.com/1975/03/05/archives/will-it-be-full-dresses-or-narrow-or-back-to-living-in-jeans.html) . The New York Times : 23 . Retrieved 18 February 2022 . On the other hand, there are complaints from women, especially those on the dumpy side, who find big clothes too hard to handle or too overwhelming and worry that they make them look pregnant or at any rate conceal their figure. Men are inclined to agree, particularly on the last point. ^ (#cite_ref-214) Morris, Bernadine (5 August 1976). "A Parisian Solution for Summer '76" (https://www.nytimes.com/1976/08/05/archives/a-parisian-solution-for-summer-76.html) . The New York Times : 50 . Retrieved 10 March 2022 . For many American visitors, the look hardly represented French chic at its highest. The cottons had a tendency to get rumpled. The dresses frequently looked tired. 'I don't care what you call it, it looks like a house dress,' a buyer for a New York store insisted. ^ (#cite_ref-215) Hyde, Nina S. (/wiki/Nina_Hyde) (21 September 1978). "Saint Laurent: On the Scent of a New 'Seduction' (https://www.washingtonpost.com/archive/lifestyle/1978/09/21/saint-laurent-on-the-scent-of-a-new-seduction/8a19f270-4c0b-4dbd-ab8d-2182863ed7f8/) " (https://www.washingtonpost.com/archive/lifestyle/1978/09/21/saint-laurent-on-the-scent-of-a-new-seduction/8a19f270-4c0b-4dbd-ab8d-2182863ed7f8/) . The Washington Post . Retrieved 1 March 2022 . 'For a long time,...,' [Saint Laurent] says, 'There was an exaggerated looseness to clothes, and women looked like "parachutes." They lost control of their movements. They began to be too easy and relaxed'. ^ (#cite_ref-216) Morris, Bernadine (13 April 1979). "French Ready-to-Wear: The Ever-Changing Message" (https://www.nytimes.com/1979/04/13/archives/french-readytowear-the-everchanging-message.html) . The New York Times : A12 . Retrieved 17 May 2023 . ...[F]ashion followers...adopted the loose, unconstructed look and their clothes flowed all over their chairs... ^ (#cite_ref-217) Finley, Ruth, ed. (1 May 1974). "Paris RTW Predicts a Long, Layered Winter". Fashion International . II (8). New York, NY, USA: FI Publications, Inc.: 2. Capes: everywhere!...If capes succeed, what happens to shoulder bags? ^ (#cite_ref-218) Hyde, Nina (/wiki/Nina_Hyde) (6 April 1981). "Costumes from Classics" (https://www.washingtonpost.com/archive/lifestyle/1981/04/06/costumes-from-classics/4f933eb2-a477-4d1d-8086-f59dcb0e142e/) . The Washington Post . Retrieved 4 April 2022 . ...[C]apes...pose...problems....Carrying a purse when wearing a cape isn't an easy maneuver, and heaven forbid you should have to carry a bundle home from the Safeway. ^ (#cite_ref-219) Dullea, Georgia (9 October 1977). "Suited Up to Storm the Boardroom" (https://www.nytimes.com/1977/10/09/archives/suited-up-to-storm-the-boardroom-the-best-handbag.html) . The New York Times : 82 . Retrieved 4 April 2022 . ...[S]hawls get all tangled up in briefcases... ^ (#cite_ref-220) Mulvagh, Jane (1988). "1976-1986". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 342. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . In France the Secretary for the Condition of Women...criticized the Big Look as a waste of material... ^ (#cite_ref-221) Finley, Ruth, ed. (1 May 1974). "Paris RTW Predicts a Long, Layered Winter". Fashion International . II (8). New York, NY, USA: FI Publications, Inc.: 1. ...[W]ho, in an era of fiber and fabric shortages, plus rising costs, will want to pay for the yards and yards of material needed in these garments? ^ (#cite_ref-222) Morris, Bernadine (5 March 1975). "Will It Be Full Dresses or Narrow – or Back to Living in Jeans?" (https://www.nytimes.com/1975/03/05/archives/will-it-be-full-dresses-or-narrow-or-back-to-living-in-jeans.html) . The New York Times : 23 . Retrieved 18 February 2022 . What women have found appealing is the freedom of the full shapes, which offer no restraint on wide strides and easy movements. ^ (#cite_ref-223) Klemesrud, Judy (27 August 1975). "The Dress Called the 'Droop': A Success Story Despite It All" (https://www.nytimes.com/1975/08/27/archives/the-dress-called-the-droop-a-success-story-despite-it-all.html) . The New York Times : 29 . Retrieved 24 March 2022 . 'Utility—that's the best thing about these dresses,' said Charyn Simpson, a 22‐year‐old fashion designer who was wearing a blue denim tent dress,...'You can do gardening in them, or sit on the floor at a concert in them.' ^ (#cite_ref-224) Mount, jr., Roy (1 January 1979). "Fashion" (https://www.nytimes.com/1979/01/01/archives/fashion-will-the-retro-look-make-it-affluence-and-leisure.html) . The New York Times : 18 . Retrieved 8 December 2021 . In the 1970's...[s]portswear emerged as the dominant theme, implying a relaxed fit and considerable versatility, since most clothes were made in interchangeable parts....For a number of years, it offered a serviceable way of dressing, geared to active women's lives, adjusting to vagaries of climate, adapting easily to travel requirements. As the sportswear onslaught continued, clothes lost their linings and interfacings, becoming softer, looser, less structured. Almost everything became as comfortable to wear as a sweater. ^ (#cite_ref-225) Donovan, Carrie (27 November 1977). "Fashion" (https://www.nytimes.com/1977/11/27/archives/fashion-clothes-designed-to-celebrate-the-body.html) . The New York Times : 243 . Retrieved 17 March 2022 . What the new fashion is saying is Take a whole new look at yourself. Celebrate your body and do away with anything that stiffly confines it. ^ (#cite_ref-226) "The New Fuller Figure" (https://www.nytimes.com/1986/12/07/magazine/fashion-view-the-new-fuller-figure.html) . The New York Times : 113. 7 December 1986 . Retrieved 28 May 2022 . In the 1970's, great numbers of women said, in effect, 'to hell with fashion,' and hid in flat or baggy, loose clothing. ^ (#cite_ref-227) Mulvagh, Jane (1988). "1976-1986". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 342. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . Since the silhouette was entirely figure-concealing, some heralded these comfortable clothes as a triumph of feminist dressing. ^ (#cite_ref-228) Morris, Bernadine (3 April 1974). "At Paris Shows, the Fabric is Flowing" (https://www.nytimes.com/1974/04/03/archives/at-paris-shows-the-fabric-is-flowing-special-to-the-new-york-times.html) . The New York Times : 48 . Retrieved 10 February 2022 . ...[Karl Lagerfeld's] new clothes vaguely recall the way suffragettes dressed in pre-World War I days but that's because the dresses are so voluminous. The yardage is immense. ^ (#cite_ref-229) Mulvagh, Jane (1988). "1976-1986". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 342. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . ...[B]y 1976 the Big Look – large, layered, peasant-inspired dressing – dominated Vogue ... ^ (#cite_ref-230) Larkin, Kathy (1979). "Fashion". 1979 Collier's Yearbook Covering the Year 1978 . Crowell-Collier Publishing Company. pp. 249–251. [1978] began with women submerged under layers of soft shapeless clothing (unlined, unconstructed jackets, loose shirts and vests, and skirts spreading wide...)....The well-dressed woman started the year wearing soft, billowy, layered styles... ^ (#cite_ref-231) Cunningham, Bill (1 March 1987). "The Collections Spring Forward". Details . V (8). New York, NY: Details Publishing Corp.: 102. ISSN (/wiki/ISSN_(identifier)) 0740-4921 (https://www.worldcat.org/issn/0740-4921) . ...[T]he test tube fiber revolution that exploded after World War II...was largely abandoned during the revival of natural fiber in the Seventies. ^ (#cite_ref-232) Elkins, Ann (1969). "Fashion". The Americana Annual, 1976: An Encyclopedia of the Events of 1975 . Grolier Incorporated. p. 248. ISBN (/wiki/ISBN_(identifier)) 0-7172-0207-0 . Energy problems and ecological concerns made synthetics costlier and production undependable. Thus, the fabric emphasis switched to natural fibers....[N]atural materials of all types were used, not only in clothing, but in accessories. ^ (#cite_ref-233) Morris, Bernadine (10 November 1977). "Spring Fashions: A Little Something for Everybody" (https://www.nytimes.com/1977/11/10/archives/westchester-opinion-spring-fashions-a-little-something-for.html) . The New York Times : 65 . Retrieved 31 December 2021 . In just one year, Perry Ellis has won a considerable reputation as a designer of casual clothes for the woman who, 10 years ago, might have lived in a commune. Today, she's grown up, but she prefers natural fibers, natural colors and clothes that look meant to be lived in. ^ (#cite_ref-234) Hyde, Nina S. (10 March 1978). "Perry Ellis's Slouch Look, With Room to Think" (https://www.washingtonpost.com/archive/lifestyle/1978/03/10/perry-ellis-slouch-look-with-room-to-think/5be3975e-ffbc-4b15-899a-088dbeff5a37/) . The Washington Post . Retrieved 24 January 2024 . 'It's a far cry from the tailored, stiff clothes that used to push the body. Now we need some room to move around in life, room to think. These clothes give you room to think,' [Perry Ellis] says. ^ (#cite_ref-235) Morris, Bernadine (15 January 1972). "Her Wrap Dresses Resemble Kimonos" (https://www.nytimes.com/1972/01/15/archives/her-wrap-dresses-resemble-kimono.html) . The New York Times : 16 . Retrieved 15 September 2022 . 'I used to use a lot of construction, but I can't do that anymore – people want to feel free,' [designer Hiroko] explained... ^ (#cite_ref-236) "Designer Jeans" (http://www.fashionencyclopedia.com/fashion_costume_culture/Modern-World-1980-2003/Designer-Jeans.html) . Retrieved 7 July 2014 . ^ (#cite_ref-237) "This is how Iranian women dressed in the 1970s before the Iranian Revolution" (https://www.thevintagenews.com/2016/06/08/44068-2/) . Thevintagenews.com . 8 June 2016 . Retrieved 5 December 2017 . ^ (#cite_ref-238) "Afghanistan Style in The '20s Through '70s: Photographs Show A Lost, Fashionable Time" (https://www.huffingtonpost.ca/2013/10/10/afghanistan-style-photos_n_4078132.html) . HuffPost . 10 October 2013 . Retrieved 24 September 2018 . ^ (#cite_ref-239) Paracha, Nadeem F. (4 December 2015). "Pakistan's contrary years (1971–1977): A cultural history of the Bhutto era" (http://www.dawn.com/news/1223761) . Dawn . Retrieved 5 December 2017 . ^ (#cite_ref-241) "16 Images of Pakistan's Swinging 1970s – SHUGHAL" (https://web.archive.org/web/20161009213528/http://www.shughal.com/16-images-of-pakistans-swinging-1970s/) . Shughal.com . 6 March 2017. Archived from the original (http://www.shughal.com/16-images-of-pakistans-swinging-1970s/) on 9 October 2016 . Retrieved 5 December 2017 . ^ (#cite_ref-242) "Take a look at these amazing photos of Iran before the revolution" (http://uk.businessinsider.com/iran-before-the-revolution-in-photos-2015-4?op=1/#-january-16-1979-reza-shah-fled-iran-during-the-iranian-revolution-the-revolution-started-off-as-a-popular-movement-fueled-by-outrage-against-government-extravagance-corruption-brutality-and-the-suppression-of-individual-rights-before-being-taken-over-by-ayatollah-khomeini-25) . Business Insider UK . Retrieved 5 December 2017 . ^ (#cite_ref-243) Sarkar, Monica (7 April 2015). "Unveiled: Afghan women past and present" (https://edition.cnn.com/2014/06/05/asia/gallery/afghan-women-past-present/index.html) . CNN . Retrieved 24 September 2018 . ^ (#cite_ref-244) "The Fascinating History of Women Wearing te" (https://www.allure.com/story/women-suits-history) . Allure . Retrieved 22 April 2018 . ^ (#cite_ref-245) "1970s Fashion: Styles, Trends, Pictures & History" (https://www.retrowaste.com/1970s/fashion-in-the-1970s/) . retrowaste.com . Retrieved 22 April 2018 . ^ (#cite_ref-246) Hyde, Nina S. (/wiki/Nina_Hyde) (30 December 1978). "The Top of the (Bottom) Line" (https://www.washingtonpost.com/archive/lifestyle/1978/12/30/the-top-of-the-bottom-line/4710a055-c000-407a-a7dc-c2ba9adf9808/) . The Washington Post . Retrieved 10 February 2022 . [S]tatus jeans, with a designer label prominent on the rear pocket, are strictly an invention of 1978. And a hot sales ticket as well. ^ (#cite_ref-247) McEvoy, Marian (28 May 1978). "Fashion" (https://www.nytimes.com/1978/05/28/archives/fashion-jeans-beyond-denim-jeans.html) . The New York Times : SM13 . Retrieved 5 October 2023 . Today, jeans are going through yet another evolution. Influential designers are putting their stamp on them. Such well‐known names as Calvin Klein, Ralph Lauren, Donna Karan of Anne Klein, Charlotte Ford and Gloria Vanderbilt have turned their respective attentions to these most durable and enduring of garments....This summer, there are...jeans with big designer labels on the waistbands... ^ (#cite_ref-248) Hyde, Nina S. (/wiki/Nina_Hyde) (30 December 1978). "The Top of the (Bottom) Line" (https://www.washingtonpost.com/archive/lifestyle/1978/12/30/the-top-of-the-bottom-line/4710a055-c000-407a-a7dc-c2ba9adf9808/) . The Washington Post . Retrieved 10 February 2022 . 'It's the label cachet and the chance for customers to get a designer label at a fairly reasonable price,' says Kal Ruttenstein, fashion director of Bloomingdale's. Ruttenstein isn't sure precisely when the jeans 'took off,' but he figures it was right after he returned from seeing the new collections in Paris in November. 'And it all happened so fast we didn't know what hit us,' he says. He's convinced that status jeans will be around for a while, but wouldn't hazard a guess as to how long. ^ (#cite_ref-249) Hyde, Nina S. (/wiki/Nina_Hyde) (30 December 1978). "The Top of the (Bottom) Line" (https://www.washingtonpost.com/archive/lifestyle/1978/12/30/the-top-of-the-bottom-line/4710a055-c000-407a-a7dc-c2ba9adf9808/) . The Washington Post . Retrieved 10 February 2022 . [Calvin Klein's jeans] started selling fast the minute they hit the stores, and are now being turned out at the rate of 50,000 pairs per week....The company expects to push out 100,000 per week....[D]esigner jeans are such big business that Bloomingdale's has created a department called "Pure Jeanius," and similar departments have opened in stores across the country. ^ (#cite_ref-250) Hyde, Nina S. (30 April 1979). "Gussying Up for Fall" (https://www.washingtonpost.com/archive/lifestyle/1979/04/30/gussying-up-for-fall/4291eb6f-5b83-4894-bd3a-a8d23c7d2c0e/) . The Washington Post . Retrieved 14 March 2024 . Calvin Klein...is...selling jeans at the rate of $100 million (wholesale) a year, producing 100,000 pairs a week. ^ (#cite_ref-251) Hyde, Nina S. (/wiki/Nina_Hyde) (30 December 1978). "The Top of the (Bottom) Line" (https://www.washingtonpost.com/archive/lifestyle/1978/12/30/the-top-of-the-bottom-line/4710a055-c000-407a-a7dc-c2ba9adf9808/) . The Washington Post . Retrieved 10 February 2022 . They boast labels including Calvin Klein, Gloria Vanderbilt, Geoffrey Beene, Ralph Lauren, Cacharel, Maurice Sasson, Yves Saint Laurent and Pierre Cardin, with Scott Barrie, Thierry Mugler, Stephen Burrows, Bill Blass and many more still to come. ^ (#cite_ref-252) Morris, Bernadine (16 September 1979). "Jeans: Skinny is Out, Baggy In" (https://www.nytimes.com/1979/09/16/archives/jeans-skinny-is-out-baggy-in-a-change-in-style.html) . The New York Times : 74 . Retrieved 3 March 2022 . [T]he idea was to get jeans as skinny as stove‐pipes or cigarettes. ^ (#cite_ref-253) Hyde, Nina S. (/wiki/Nina_Hyde) (30 December 1978). "The Top of the (Bottom) Line" (https://www.washingtonpost.com/archive/lifestyle/1978/12/30/the-top-of-the-bottom-line/4710a055-c000-407a-a7dc-c2ba9adf9808/) . The Washington Post . Retrieved 10 February 2022 . ...good fit, narrow leg...[Designer] Maurice Sasson...has taken his jeans to the very narrow 12-inch width, 'just wide enough to fit over the boot,' he says. ^ (#cite_ref-254) Hyde, Nina S. (/wiki/Nina_Hyde) (8 October 1978). "Fashion Notes" (https://www.washingtonpost.com/archive/lifestyle/1978/10/08/fashion-notes/3b9eaab6-0a20-4e55-8021-4e81442cc15f/) . The Washington Post . Retrieved 3 March 2022 . [T]he hottest single seller to step out in a long time is the Candie, a cha-cha heel on a plastic sole held in place only by a wide leather vamp. Shoe Scene has sold 3,200 pairs in two stores; the maker, El Greco, has sold 2 million pairs in three months....[Girls] wear them with their jeans...They are sexy and...they are comfortable. Because of the molded sole the heel isn't as high as it looks. ^ (#cite_ref-255) Elkins, Ann M. "Fashion". The Americana Annual 1980: An Encyclopedia of the Events of 1979 . Grolier Incorporated. p. 218. ISBN (/wiki/ISBN_(identifier)) 0-7172-0211-9 . Another new trouser making its appearance...was the 'baggie,' which featured fullish pleating below a wide waistband tapering to a narrow pegged leg. ^ (#cite_ref-256) Hendelson, Marion. "Fashion". Funk & Wagnalls New Encyclopedia Yearbook: Events of 1979 . New York, USA: Funk & Wagnalls, Inc. p. 167. ISBN (/wiki/ISBN_(identifier)) 0-8343-0034-6 . ...[Y]oung women were attracted to a new silhouette – wide pants tapering to the ankle. Often called 'baggy' jeans, the new pants were less restricting than the more familiar skin-tight version. ^ (#cite_ref-257) Morris, Bernadine (16 September 1979). "Jeans: Skinny is Out, Baggy In" (https://www.nytimes.com/1979/09/16/archives/jeans-skinny-is-out-baggy-in-a-change-in-style.html) . The New York Times : 74 . Retrieved 3 March 2022 . The new watchword for jeans is 'baggy.'...[B]aggy jeans are fun to wear at the moment. ^ (#cite_ref-258) Duka, John (3 January 1982). "Designing an Empire" (https://www.nytimes.com/1982/01/03/magazine/designing-an-empire.html) . The New York Times : 20 . Retrieved 31 December 2021 . [Perry Ellis's] dimple-sleeve jackets, baby cable-knit sweaters and cropped pants...have been copied by many of the smart manufacturers... ^ (#cite_ref-259) Hyde, Nina S. (/wiki/Nina_Hyde) (12 December 1979). "Maud Frizon, the Designer Behind the Colorful Cone Heels" (https://www.washingtonpost.com/archive/lifestyle/1979/12/12/maud-frizon-the-designer-behind-the-colorful-cone-heels/d0628720-7fa3-49c6-9aa5-5c8276d6a1fc/) . The Washington Post . Retrieved 12 February 2022 . [L]ower cone heels [are]...happening now because of the inventive shoe shapes of Maud Frizon. , ^ (#cite_ref-260) Hendelson, Marion (1981). "Fashion". Funk & Wagnalls New Encyclopedia Yearbook 1981: Events of 1980 . New York: Funk & Wagnalls, Inc. p. 172. ISBN (/wiki/ISBN_(identifier)) 0834300362 . By late spring [1980], the jazz shoe, a flat-heeled laced shoe, was introduced and well accepted. ^ (#cite_ref-261) Morris, Bernadine (30 March 1978). "Milan: Wide Shoulders, Bulky Jackets, Leathers" (https://www.nytimes.com/1978/03/30/archives/milan-wide-shoulders-bulky-jackets-leather.html) . The New York Times : C6 . Retrieved 24 March 2022 . The biggest change is not in the length of skirts but in the breadth of shoulders. Many jackets and coats, as well as some tunics to be worn under them, are not only widened but padded. ^ (#cite_ref-262) Larkin, Kathy. "Fashion". 1979 Collier's Yearbook Covering the Year 1978 . Crowell-Collier Publishing Company. pp. 249–252. In women's fashion, 1978 was a year of great change. It began with women submerged under layers of soft shapeless clothing...But the year ended with the same women shedding layers to emerge with a revamped fashion silhouette reminiscent of the 1940's, a look characterized by broad, even padded shoulders, tight waistlines, and shorter, straighter skirts. ^ (#cite_ref-263) Livingston, Kathryn. "Fashion". World Book Year Book 1979: Events of 1978 . Chicago, Illinois, USA: World Book-Childcraft International, Inc. p. 331. Fashion took a dramatic turn midway through 1978. The casually loose, free-flowing silhouettes of the early part of the year suddenly slimmed down. There was a growing sense of structure. The paring away of volume meant sharper tailoring and a clearer definition of the figure. Broad shoulders loomed above belted waists, hip-rounding skirts, and pegged pants....Shoulder pads were resurrected, as were...severe, tailored business suits... ^ (#cite_ref-264) Halasz, Robert (ed.). "Fashion". The Illustrated Columbia Encyclopedia Year Book 1979: Events of 1978 . Chicago, Illinois, USA: Standard Educational Corporation. p. 315. The Big Look is out but big shoulders are in...Slim skirts and ankle-length pegged pants were shown with...padded tops...Dressy was in and gypsies, peasants, and hippies were definitely out. ^ (#cite_ref-265) Morris, Bernadine (16 April 1978). "The Message is Clear, But How Will It Be Received?" (https://www.nytimes.com/1978/04/16/archives/message-is-clear-but-how-will-it-be-received-skirting-the-mini.html) . The New York Times : 70 . Retrieved 15 November 2021 . The newest look is that of an isosceles triangle standing on its point, tapering from squared shoulders to narrow skirt or pants. ^ (#cite_ref-266) Halasz, Robert (ed.). "Fashion". The Illustrated Columbia Encyclopedia Year Book 1979: Events of 1978 . Chicago, Illinois, USA: Standard Educational Corporation. p. 315. The new shape, in its most extreme European form, was likened to an inverted wedge. American buyers and journalists took to calling it 'the Joe Namath look' and comparisons were made to Joan Crawford's Adrian styles of the 1940's. ^ (#cite_ref-267) Duka, John (2 July 1978). "Fashion Profile" (https://www.nytimes.com/1978/07/02/archives/fashion-profile-home-grown-talent.html) . The New York Times : SM6. Koko Hashim, vice president of Neiman‐Marcus [says]...'There has been an enormous change in the silhouette, a broadening of the shoulders and narrowing of the hips—what we call the triangle...—that requires a reeducation of the consumer'. ^ (#cite_ref-268) Morris, Bernadine (6 April 1977). "Mini Skirts Make Maximum Impact in Paris" (https://www.nytimes.com/1977/04/06/archives/mini-skirts-make-maxi-impact-in-paris.html) . The New York Times : 66 . Retrieved 4 April 2022 . ...[T]he mini emerged naturally from the social conditions of the 1960's... ^ (#cite_ref-269) Mulvagh, Jane (1988). "1957-1967". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 238. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . ...[T]he mini skirt...was born on the streets among art students and Mods. ^ (#cite_ref-270) Morris, Bernadine (25 August 1974). "The Big Look" (https://www.nytimes.com/1974/08/25/archives/the-big-look-the-big-look.html) . The New York Times : 285 . Retrieved 10 February 2022 . Starting with the swinging young in London in the early nineteen‐sixties, the miniskirt spread to Paris and then to this country where season after season matrons and manufacturers gleefully subtracted an inch or two from hemlines. By the end of the decade more knees and thighs were visible than at any point in civilized society and everybody felt young. ^ (#cite_ref-271) Morris, Bernadine (4 August 1981). "Couture: Styles of Splendor" (https://www.nytimes.com/1981/08/04/style/couture-styles-of-splendor.html) . The New York Times : C6 . Retrieved 1 December 2021 . ...[T]he couture tried...to mimic street fashions...during the miniskirt years. ^ (#cite_ref-272) Hyde, Nina S. (/wiki/Nina_Hyde) (24 March 1981). "Fashion: After Jeans...What?" (https://www.washingtonpost.com/archive/lifestyle/1981/03/24/fashion-after-jeans-what/f25a2f01-3dda-4c74-8c1f-e490152a03b4/) . The Washington Post . Retrieved 6 March 2022 . ...[J]eans universalized the pants look for women. ^ (#cite_ref-273) Dubois, Ruth Mary. "Fashion: Blue Jeans". The Americana Annual 1974: An Encyclopedia of the Events of 1973 . Grolier Incorporated. p. 243. ISBN (/wiki/ISBN_(identifier)) 0-7172-0205-4 . Blue jeans have taken a long walk on the fashion scene. After miles in the mass market they have arrived...in the realm of high fashion. This progression is contrary to the usual course of fashion, which customarily starts at the top and sifts down. ^ (#cite_ref-274) Morris, Bernadine (15 June 1975). "Fashion" (https://www.nytimes.com/1975/06/15/archives/fashion-message-from-paris-laissezfaire.html) . The New York Times : SM11 . Retrieved 4 April 2022 . Designers who sought vainly to pry women out of their pants uniforms have given up the fight. ^ (#cite_ref-275) Morris, Bernadine (25 August 1974). "The Big Look" (https://www.nytimes.com/1974/08/25/archives/the-big-look-the-big-look.html) . The New York Times : 285 . Retrieved 10 February 2022 . [In the early 1970s,] everyone settled down to wearing pants. Younger women who had never parted from their blue jeans bleached them lovingly, embroidered them with care. Less casual types wore pants suits. ^ (#cite_ref-276) "Fashion View" (https://www.nytimes.com/1979/12/30/archives/fashion-view-decoding-the-styles-of-the-70s.html) . The New York Times : SM6. 30 December 1979 . Retrieved 10 December 2021 . Pants and jeans took over the scene...[T]hey suited the quiet, realistic mood of the time...Pants also carried with them the important impression of ease, of not trying too hard, and of freedom—crucial preoccupations of the early 70's... ^ (#cite_ref-277) Mulvagh, Jane (1988). "1967". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 293. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . The hippy movement...originated in the Haight-Ashbury district of San Francisco [and] made its own contribution to...fashion... ^ (#cite_ref-278) Bender, Marylin (9 December 1969). "The Fashion Decade: As Hems Rose, Barriers Fell" (https://timesmachine.nytimes.com/timesmachine/1969/12/09/78547326.html) . The New York Times : 63 . Retrieved 24 April 2023 . It was a decade in which the...rich stole their fads from hippies who rejected materialism. ^ (#cite_ref-279) Morris, Bernadine (9 September 1971). "Key Word in Sportswear – Blazers" (https://www.nytimes.com/1971/09/09/archives/key-word-in-sportswear-blazers.html) . The New York Times : 38 . Retrieved 28 February 2022 . Sportswear...is...the next step in the trend to informal dressing that has resulted in pants being worn to business offices and shorts being worn on city streets....The answer to 'What is sportswear?' could almost be 'blazers'... ^ (#cite_ref-280) Morris, Bernadine (27 February 1983). "The Directios of the Innovators" (https://www.nytimes.com/1983/02/27/magazine/the-directions-of-the-innovators.html) . The New York Times : 132 . Retrieved 4 April 2022 . The first to go were the girdles and panty girdles that always served a dual function: to hold in the figure and hold up the stockings. Spurred by the women's liberation movement and a sense of symmetry, bras also vanished. So did slips, petticoats and, for many women, underpants. ^ (#cite_ref-281) Mulvagh, Jane (1988). "1965". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. pp. 242, 282. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . p. 242: Underwear changed: girdles and corselettes were replaced by the mini brief and Gernreich's 'no-bra' bra. Eventually the brassière was discarded altogether. p. 282: Brassières were cumbersome, unnatural and totally unsuited to the clothes women were now wearing. ^ (#cite_ref-282) Morris, Bernadine (6 February 1971). "The Romans Didn't Waste Any Time About Shorts" (https://www.nytimes.com/1971/02/06/archives/the-romans-didnt-waste-any-time-about-shorts.html) . The New York Times : 18 . Retrieved 4 April 2022 . You couldn't wear...shorts...in the streets...20 years ago [1951]...because women all had heavy foundation garments on... ^ (#cite_ref-283) "Fashion View" (https://www.nytimes.com/1979/12/30/archives/fashion-view-decoding-the-styles-of-the-70s.html) . The New York Times : SM6. 30 December 1979 . Retrieved 10 December 2021 . Take the anti‐establishment 60's...: the untamed manes of the flower children, the faded jeans of the affluence‐rejecting hippies, the discarded bras of the women's liberation movement, the knee‐freeing skirts..., and the street‐imitating gear of the radical chic...share...an antifashion attitude that became...powerful and pervasive... ^ (#cite_ref-284) Donovan, Carrie (28 August 1977). "Feminism's Effect on Fashion" (https://www.nytimes.com/1977/08/28/archives/feminisms-effect-on-fashion.html) . The New York Times : 225 . Retrieved 10 December 2021 . 'When we were told to give up our miniskirts for midis,' [Gloria Steinem] says, 'there was a semi‐conscious boycott on the part of American women. We were fed up with being manipulated. We now wanted to make our own decisions on hundreds of things, not have them handed down from on high.'...What women wanted and bought were separate items—sweaters, shirts, jackets—to put together themselves as they saw fit. Those 'separates' went with pants. ^ (#cite_ref-285) Mulvagh, Jane (1988). "1968-1975". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 298. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . ...[W]orking or older women reacted against fads by demanding classics and many designers focused on this market....[I]t was these understated classics that became the mainstay of the fashion industry. ^ (#cite_ref-286) Dullea, Georgia (9 October 1977). "Suited Up to Storm the Boardroom" (https://www.nytimes.com/1977/10/09/archives/suited-up-to-storm-the-boardroom-the-best-handbag.html) . The New York Times : 82 . Retrieved 11 February 2022 . ...Wall Street women are...wearing...tailored jacket[s]... ^ (#cite_ref-287) Duka, John (13 November 1978). "Paris is Yesterday" (https://books.google.com/books?id=-OACAAAAMBAJ&pg=PA111) . New York . Vol. 11, no. 46. pp. 111–112 . Retrieved 11 December 2021 . [I]f [Paris designers] have their way, American women will be wearing big, big, big padded shoulders... ^ (#cite_ref-288) Mount, jr., Roy (1 January 1979). "Fashion" (https://www.nytimes.com/1979/01/01/archives/fashion-will-the-retro-look-make-it-affluence-and-leisure.html) . The New York Times : 18 . Retrieved 15 November 2021 . Were designers so carried away by one of fashion's golden ages that they simply didn't notice how women had changed? Did they simply run out of ideas? ^ (#cite_ref-289) Larkin, Kathy. "Fashion". 1979 Collier's Yearbook Covering the Year 1978 . Crowell-Collier Publishing Company. pp. 249–252. ...[D]esigners in Milan, Paris, and New York showed fall ready-to-wear collections that almost simultaneously reached the same conclusion....broad-shouldered fashions, the pared-down look of fewer layers, and the neater waist...huge shoulders, puffed sleeves to emphasize width further...[T]he fashion message was clear: Broad shoulders were in. ^ (#cite_ref-290) Mulvagh, Jane (1988). "1979". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 364. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . A hard, constructed, uncompromising silhouette prevailed: padded shoulders, sometimes three feet wide... ^ (#cite_ref-291) Mulvagh, Jane (1988). "1976-1986". Vogue History of 20th Century Fashion . London, England: Viking, the Penguin Group. p. 345. ISBN (/wiki/ISBN_(identifier)) 0-670-80172-0 . Mugler...present[ed]...three-foot-wide shoulders... ^ (#cite_ref-292) Duka, John (13 November 1978). "Paris is Yesterday" (https://books.google.com/books?id=-OACAAAAMBAJ&pg=PA111) . New York . 11 (46): 112 . Retrieved 11 December 2021 . At Andrevie...shoulders were almost three feet wide. ^ (#cite_ref-293) Morris, Bernadine (16 April 1978). "The Message is Clear, But How Will It Be Received?" (https://www.nytimes.com/1978/04/16/archives/message-is-clear-but-how-will-it-be-received-skirting-the-mini.html) . The New York Times : 70 . Retrieved 15 November 2021 . [W]hen the padding becomes too mammoth, when the proportions are better suited to a quarterback than an office worker,...it becomes absurd. And, of course, if you add a padded coat to a padded jacket over a padded blouse, the effect can be grotesque. A lot of grotesque effects were seen on the runways... ^ (#cite_ref-294) Hyde, Nina S. (/wiki/Nina_Hyde) (11 April 1979). "Not-So-Ready-to-Wear Clothes" (https://www.washingtonpost.com/archive/lifestyle/1979/04/11/not-so-ready-to-wear-clothes/dd497d5d-c3e4-4ed6-8768-7c0f027363d4/) . The Washington Post . Retrieved 7 February 2022 . 'What has been appearing on stage has nothing to do with women today,' said a very distressed Koko Hashim of John Wanamaker's in Philadelphia, before the YSL show. 'Customers will be so turned off by the pictures they see they will retreat happily back to their blazers. And that is not good for business.' ^ (#cite_ref-295) Donovan, Carrie (6 May 1979). "Fashion View: American Designers Come of Age" (https://www.nytimes.com/1979/05/06/archives/fashion-view-american-designers-come-of-age-fashion.html) . The New York Times : 254 . Retrieved 4 April 2022 . ...[F]ashion buyers and the press returned home saying such things as 'Paris isn't real,' 'It's too costumey'...[M]any Paris designers are not in tune with the times, and have therefore abdicated their fashion leadership... ^ (#cite_ref-296) Morris, Bernadine (16 April 1978). "The Message is Clear, But How Will It Be Received?" (https://www.nytimes.com/1978/04/16/archives/message-is-clear-but-how-will-it-be-received-skirting-the-mini.html) . The New York Times : 70 . Retrieved 15 November 2021 . Stiffer clothes to come?...The shoulder treatments were...a symptom of what might become a problem: the interest of designers in stiffer, more constructed clothes. ^ (#cite_ref-297) Morris, Bernadine (12 July 1978). "Seek Not the Past, Let It Arrive" (https://www.nytimes.com/1978/07/12/archives/seek-not-the-past-lest-it-arrive.html) . The New York Times . p. C12 . Retrieved 4 April 2022 . ...[A]s ontogeny recapitulates phylogeny, so padded shoulders can introduce a recycling of pointy shoes that kill, skinny skirts that make it necessary to mince, not walk, and a lot of unseen boning and wiring... ^ (#cite_ref-298) Mount, jr., Roy (1 January 1979). "Fashion" (https://www.nytimes.com/1979/01/01/archives/fashion-will-the-retro-look-make-it-affluence-and-leisure.html) . The New York Times : 18 . Retrieved 15 November 2021 . Fashion has changed its course, from free‐flowing and easy to structured and contrived....Instead of evolving naturally from the kinds of clothes women have been wearing, the...styles have skipped back over several decades of fashion. They've landed somewhere in the middle of the 1940's, carrying obsolete notions of glamour, sophistication and hard‐edged chic as excess baggage....In many cases, the ease that had made clothes so comfortable was eliminated....[S]houlder pads...added another element of restraint. Linings and stiffer constructions began to reappear....The results have been called sexy by admirers; detractors call the clothes tawdry.... They have succeeded in evoking an epoch in which many women, perhaps the majority, were delighted to dress as sex objects. ^ (#cite_ref-299) Morris, Bernadine (30 January 1979). "Paris Couture: A Glance Backward at the Silver Screen" (https://www.nytimes.com/1979/01/30/archives/paris-couture-a-backward-glance-at-the-silver-screen-some-names.html) . The New York Times : C5 . Retrieved 14 March 2022 . You wouldn't believe what Paris has in store for you... Well, some of you might, those who haven't changed their style for 30 years....padded shoulders with such sharp edges that they look as if they could cut your hand. ^ (#cite_ref-300) Hyde, Nina S. (/wiki/Nina_Hyde) (25 October 1978). "Hourglass for Spring" (https://www.washingtonpost.com/archive/lifestyle/1978/10/25/hourglass-for-spring/fb5e27a6-f77c-4b82-b31d-dda8447a8ab9/) . The Washington Post . Retrieved 4 April 2022 . ...[T]he looks all seem like you've been there before – in the 1950s....'If my mother saw these clothes, she would consider them quite matronly and dated,' says [Bernie] Ozer [of Associated Merchandising Corp]...Stockings with seams are modern? 'I guess if you have never gone through the business of trying to keep them straight, it seems like an amusing idea,' says Gerry Stutz [of Henry Bendel]. 'I really hate to start that again'... ^ (#cite_ref-301) Buck, Genevieve (2 October 1985). "Shoulders: The Intimate Story" (https://www.chicagotribune.com/news/ct-xpm-1985-10-02-8503060991-story.html) . Chicago Tribune . Retrieved 4 April 2022 . ...[In] the late '70s...really big shoulders reappeared, this time...broader than ever. Reactions to the doorway-wide affairs generally ranged from 'not for me' to 'never!' ^ (#cite_ref-302) Hyde, Nina S. (/wiki/Nina_Hyde) (11 April 1979). "Not-So-Ready-to-Wear Clothes" (https://www.washingtonpost.com/archive/lifestyle/1979/04/11/not-so-ready-to-wear-clothes/dd497d5d-c3e4-4ed6-8768-7c0f027363d4/) . The Washington Post . Retrieved 7 February 2022 . ...[M]any [buyers] had trouble selling exaggerated shoulders...'I can't see women getting into cars with shoulders so broad,' said Wendall Ward, vice president of Garfinckel's...At one point during the five-day marathon of fall ready-to-wear shows, Robert Sakowitz, president of Sakowitz (Houston), asked Val Cook of Saks-Jandel, 'Do you know a good book store in Paris?...I want to buy a stack of Bibles,' he explained. 'I think we will all need to do a lot of praying to sell these clothes'. ^ (#cite_ref-303) Hyde, Nina S. (/wiki/Nina_Hyde) (9 April 1979). "Broad Shouldered Paris" (https://www.washingtonpost.com/archive/lifestyle/1979/04/09/broad-shouldered-paris/577026de-3fea-4114-b771-eaced95767d6/) . The Washington Post . Retrieved 3 March 2022 . 'If you had tried to sell big shoulders in a store this winter, you wouldn't touch them for spring,' insists Val Cook, of Saks-Jandel, about the padded-shoulder styles, some of which looked like the model had forgotten to remove the hanger before putting on the dress. ^ (#cite_ref-304) Hyde, Nina S. (/wiki/Nina_Hyde) (10 November 1978). "Beyond 'Retro' (https://www.washingtonpost.com/archive/lifestyle/1978/11/10/beyond-retro/5f1042b8-b14a-48a8-b94d-e122042f4e2c/) " (https://www.washingtonpost.com/archive/lifestyle/1978/11/10/beyond-retro/5f1042b8-b14a-48a8-b94d-e122042f4e2c/) . The Washington Post . Retrieved 4 April 2022 . What much of the fashion industry has done is try to make something old work in today's lifestyle. And it just won't do. ^ (#cite_ref-305) Donovan, Carrie (6 November 1978). "The New Look: Hit or Miss?" (https://www.nytimes.com/1978/11/06/archives/the-new-look-hit-or-miss-the-military-bombed.html) . The New York Times : 58 . Retrieved 15 November 2021 . [A]nything and everything of Perry Ellis's breezy designs with exaggerated almost pillow‐padded shoulders has been a run‐away best seller in stores all over the country, with usually cautious store executives using words like 'fabulous' and 'unbelievable' to describe their success. ^ (#cite_ref-306) Duka, John (11 July 1978). "Norma Kamali is Heading Out on Her Own" (https://www.nytimes.com/1978/07/11/archives/norma-kamali-is-heading-out-on-her-own-a-reflection-of-her-tastes-a.html) . The New York Times : C2 . Retrieved 10 December 2021 . Norma Kamali...has become famous for her parachute dresses, sexy, shirred bathing suits, pegged, draped skirts...and...padded shoulders. ^ (#cite_ref-307) Donovan, Carrie (12 November 1978). "Why the Big Change Now" (https://www.nytimes.com/1978/11/12/archives/why-the-big-change-now.html) . The New York Times : SM226 . Retrieved 15 November 2021 . This fall, [Calvin Klein] narrowed [his clothes]...and added a bit of shoulder padding. ^ (#cite_ref-308) Morris, Bernadine (4 April 1978). "In Milan, the Classic Prevailed Over the Romantic" (https://www.nytimes.com/1978/04/04/archives/in-milan-the-classic-prevailed-over-the-romantic-a-pair-of.html) . The New York Times : 28 . Retrieved 10 December 2021 . Armani's...gift for fall is a long-jacket suit with military shoulders...It accompanies pants, skirts or culottes and it sometimes has epaulets....[S]oftening agents take the curse off the military look....It has broad, padded shoulders... ^ (#cite_ref-309) Morris, Bernadine (19 October 1979). "At Paris Showings, Both Creativity and Confusion" (https://www.nytimes.com/1979/10/19/archives/at-paris-showings-both-creativity-and-confusion.html) . The New York Times : A20 . Retrieved 16 March 2022 . The mammoth shoulder pads shown a year ago [1978] are one of the disasters. Only Claude Montana has repeated them. Still, a bit of padding exists in almost all collections and there is a lot going on at the tops of sleeves to broaden the tops of clothes without distorting the body. ^ (#cite_ref-310) "Fashion in the 1970s" (https://www.retrowaste.com/1970s/fashion-in-the-1970s/) . retrowaste . ^ (#cite_ref-311) Donovan, Carrie (6 November 1978). "The New Look, Hit or Miss?" (https://www.nytimes.com/1978/11/06/archives/the-new-look-hit-or-miss-the-military-bombed.html) . The New York Times : 58 . Retrieved 10 December 2021 . [T]he new look took—mostly in the less extreme versions, but with a few surprises. Broader shoulders have been accepted, up to a point. ^ (#cite_ref-312) Hyde, Nina S. (/wiki/Nina_Hyde) (20 September 1979). "Fashion: Shoulder It" (https://www.washingtonpost.com/archive/lifestyle/1979/09/20/fashion-shoulder-it/cbe8a4a3-4c65-4e86-9117-1f064f80b9a0/) . The Washington Post . Retrieved 7 February 2022 . ...[A]s the exaggerated showpieces were translated into saleable styles – with the broadened shoulder tapering to the waist and hemline – women responded positively. ^ (#cite_ref-313) Livingston, Kathryn (1980). "Fashion". The 1980 World Book Year Book: A Review of the Events of 1979 . World Book-Childcraft International, Inc. p. 323. ISBN (/wiki/ISBN_(identifier)) 0-7166-0480-9 . Trim, curve-conscious tailoring, with narrow waist and slimmer skirts, and such new details as peplums and defined shoulders, enabled women to create a look entirely different from the tossed-together, studied carelessness of past seasons. ^ (#cite_ref-314) Hyde, Nina S. (/wiki/Nina_Hyde) (25 October 1978). "Hourglass for Spring" (https://www.washingtonpost.com/archive/lifestyle/1978/10/25/hourglass-for-spring/fb5e27a6-f77c-4b82-b31d-dda8447a8ab9/) . The Washington Post . Retrieved 4 April 2022 . ...[I]f you thought padded shoulders would pass with the football season, you are wrong. There are various degrees of padding, but clearly the broad-shouldered look has a wide following. ^ (#cite_ref-315) Donovan, Carrie (31 March 1985). "Fashion: Feminine Flourishes" (https://www.nytimes.com/1985/03/31/magazine/fashion-feminine-flourishes.html) . The New York Times : 80 . Retrieved 9 March 2022 . Karl Lagerfeld..., Yves Saint Laurent, Emanuel Ungaro and Hubert de Givenchy...continued with their versions of the rather aggressive broad-shouldered silhouette... ^ (#cite_ref-316) "Fashion View" (https://www.nytimes.com/1979/12/30/archives/fashion-view-decoding-the-styles-of-the-70s.html) . The New York Times : SM6. 30 December 1979 . Retrieved 18 March 2022 . The brisk, capable look of the wide-shouldered silhouette suited the mood of women who wanted to convey just that image: in control and 'together'. ^ (#cite_ref-317) McColl, Patricia (17 March 1985). "Paris Takes a Wide View" (https://www.nytimes.com/1985/03/17/magazine/fashion-preview-paris-takes-a-wide-view.html) . The New York Times : 69. ...[S]houlders [are] now [1985] proportioned to sports-page, rather than fashion-page, dimensions...Customers...don't seem to be bothered by the exaggerated shoulders. After all, they make the waist and hips look smaller. ^ (#cite_ref-318) Duka, John (13 November 1978). "Paris is Yesterday" (https://books.google.com/books?id=-OACAAAAMBAJ&pg=PA111) . New York . 11 (46): 113 . Retrieved 11 December 2021 . [W]hy are the French making these crazy clothes? ^ (#cite_ref-319) Hyde, Nina S. (/wiki/Nina_Hyde) (11 September 1978). "A Turnout with Designs on the Opera" (https://www.washingtonpost.com/archive/lifestyle/1978/09/11/a-turnout-with-designs-on-the-opera/6b3bd44e-a002-498a-be83-d8d87de65591/) . The Washington Post . Retrieved 1 March 2022 . There was a slide show from Paris ready-to-wear collections,...But most of the guests were simply not ready for such high-fashion profundities as palace-guard or storm-trooper outfits. There were guffaws...Opera Guild chairman Mrs. Edward Bruce...did bring home one padded-shoulder jacket this season, she said, which her husband made her take back. ^ (#cite_ref-320) Hyde, Nina S. (/wiki/Nina_Hyde) (16 September 1978). "Fall Fashion Blitz: The Show's the Thing for Washington Stores" (https://www.washingtonpost.com/archive/lifestyle/1978/09/16/fall-fashion-blitz-the-shows-the-thing-for-washington-stores/5f59515e-0931-4d71-a5a9-a18795d58812/) . The Washington Post . Retrieved 27 March 2022 . The new broad-shouldered, retro-glamor clothes, military looks and black leather that most customers are seeing for the first time are considered quite shocking....Dorothy Vineburgh, an active volunteer in town, [says], 'No way will I wear those shoulder pads....I want to find something elegant and comfortable.' Richard Krolick, staff director of a congressional committee, wasn't quite so kind. 'It's like World War II,' he said after one benefit this week. 'They have got to be kidding.'...[C]ustomers aren't loving all the clothes and the shows aren't generating large sales... ^ (#cite_ref-321) Hyde, Nina S. (/wiki/Nina_Hyde) (15 April 1979). "Fashion Notes" (https://www.washingtonpost.com/archive/lifestyle/1979/04/15/fashion-notes/3fc69745-ed9c-4a46-99bc-473ee4bb6c54/) . The Washington Post . Retrieved 3 March 2022 . From the runway, the push is on for big shoulders and suits, but...what was being worn by the audience at the Paris shows? Lots of Calvin Klein-looking clothes, easy sportswear separates, and a lot of the comfortable clothes the designers seem to be working awfully hard to replace. ^ (#cite_ref-322) "Autumn Inspirations, 1979" (http://coutureallure.blogspot.com/2013/08/autumn-inspirations-1979.html) . Couture Allure . 5 August 2013 . Retrieved 21 December 2021 . ^ (#cite_ref-323) Halasz, Robert (ed.). "Fashion". The Illustrated Columbia Encyclopedia Year Book 1979: Events of 1978 . Chicago, Illinois, USA: Standard Educational Corporation. p. 319. Heels...reached skyscraper proportions in Paris – three to five inches... ^ (#cite_ref-324) Elkins, Ann M. "Fashion". The Americana Annual 1980: An Encyclopedia of the Events of 1979 . Grolier Incorporated. p. 218. ISBN (/wiki/ISBN_(identifier)) 0-7172-0211-9 . ...pumps, the shoe of the year. The most important shoe shape, the pump came in every color and every style – D'Orsay, sling, opera, spectator – all with a higher, narrower heel, often cone-shaped... ^ (#cite_ref-325) Finley, Ruth, ed. (1 July 1979). "Fall Shoes Provide Very Updated Versions of Old Familiar Classics". Fashion International . VII (10). New York, NY, USA: FI Publications, Inc.: 2. Pumps, the leading suit shoe, sport open shanks, open backs, open toes... ^ (#cite_ref-326) Hyde, Nina S. (3 May 1979). "Shaped, Suited and Slim" (https://www.washingtonpost.com/archive/lifestyle/1979/05/03/shaped-suited-and-slim/30620925-7262-4587-87f4-f692e2f4eb19/) . The Washington Post . Retrieved 24 January 2024 . ...[T]here are virtually no boots being shown... ^ (#cite_ref-327) Morris, Bernadine (16 April 1978). "The Message is Clear, But How Will It Be Received?" (https://www.nytimes.com/1978/04/16/archives/message-is-clear-but-how-will-it-be-received-skirting-the-mini.html) . The New York Times : 70. Archived (https://web.archive.org/web/20220226200936/https://www.nytimes.com/1978/04/16/archives/message-is-clear-but-how-will-it-be-received-skirting-the-mini.html) from the original on 26 February 2022 . Retrieved 15 November 2021 . Knee‐high boots have...waned, replaced by ankle‐high ones, which can he called high shoes or low boots. ^ (#cite_ref-328) Finley, Ruth, ed. (1 July 1979). "Fall Shoes Provide Very Updated Versions of Old Familiar Classics". Fashion International . VII (10). New York, NY, USA: FI Publications, Inc.: 2. It's a shoe! It's a boot! It's a shoeboot! Short boots are in... ^ (#cite_ref-329) Morris, Bernadine (27 July 1978). "Saint Laurent Brings Back Luxury and Old Lace" (https://www.nytimes.com/1978/07/27/archives/saint-laurent-brings-back-luxury-and-old-lace.html) . The New York Times : C12 . Retrieved 4 April 2022 . ...[Saint Laurent's first model] wore a forward-tilted fez and...black stockings with seams...red gloves with a black...coat or plum gloves with a black suit....Saint Laurent's favorite model...wore...a jeweled pillbox with feathers...[a]nd...diamond bracelets over her black gloves....[T]he miniature forward-tilted disc [hat]...is obligatory this season.... ^ (#cite_ref-330) "Fashion". The American Peoples Encyclopedia Yearbook 1979: Events of 1978 . Grolier Incorporated. pp. 204, 208. ISBN (/wiki/ISBN_(identifier)) 0-7172-0410-3 . Fewer heads were hatless....Millinery accompanied everything....The key word was small....[A]ll hats were worn straight and tipped slightly over the brow...The new coiffures were modified to accommodate the millinery....Gloves often stepped out in assorted fabrics and colors. ^ (#cite_ref-331) Finley, Ruth, ed. (1 September 1978). "Paris Couture". Fashion International . VI (12). New York, NY, USA: 2. Biggest revival is in accessories: Hats for all hours: Rakishly tilted over one eyebrow, miniature pancakes, pillboxes, pagodas...Cocktail, dinner, and evening hats, many with nose veils; rhinestone-sparkled face veils; tie-on eye veils....Gloves: all lengths, wrist, forearm, elbow; bright leather gauntlets; rhinestone bracelets worn over black suede gloves. ^ (#cite_ref-332) Larkin, Kathy. "Fashion". 1979 Collier's Yearbook Covering the Year 1978 . Crowell-Collier Publishing Company. p. 252. After years of predicting a hat revival, millinery businesses were caught in the middle of an authentic boom. ^ (#cite_ref-333) Donovan, Carrie (6 November 1978). "The New Look: Hit or Miss?" (https://www.nytimes.com/1978/11/06/archives/the-new-look-hit-or-miss-the-military-bombed.html) . The New York Times : 58 . Retrieved 4 April 2022 . Apparently women are yearning to look glamorous again. This may explain the surprise success of hats, not just the kind to take shelter in, but silly little frou-frou ones to tip over the forehead and wear out in the evening. Young women are wearing them with their jeans and older women are wearing them with their new glamorous evening clothes along with gloves. ^ (#cite_ref-334) Morris, Bernadine (22 October 1982). "Kenzo's Fluid Designs End Paris Showings" (https://www.nytimes.com/1982/10/22/style/kenzo-s-fluid-designs-end-paris-showings.html) . The New York Times : B8 . Retrieved 22 June 2022 . Designers...have a predilection for hats...More surprising was the appearance of...rather formal leather gloves... ^ (#cite_ref-335) Hyde, Nina (/wiki/Nina_Hyde) (22 October 1983). "Refining the Look" (https://www.washingtonpost.com/archive/lifestyle/1983/10/22/refining-the-look/5262e3e1-7b68-4852-bcdb-218da47f86b0/) . The Washington Post . Retrieved 22 June 2022 . ...[M]any of the clothes this season...came complete with hat and gloves... ^ (#cite_ref-336) "The Peacock Revolution" (http://beatlespeacockrevolution.weebly.com/the-peacock-revolution.html) . The Peacock Revolution and the Beatles: British Men's Fashion from 1963–1973 . Retrieved 7 October 2017 . ^ (#cite_ref-337) "V&A · The peacock revolution: 1960s menswear" (https://www.vam.ac.uk/articles/the-peacock-revolution-1960s-menswear) . Victoria and Albert Museum . Retrieved 5 December 2017 . ^ (#cite_ref-338) "Sixties Style Revolution: The Peacock Revolution" (http://www.hiras.com/blog/2011/10/sixties-style-revolution-the-peacock-revolution/) . Hiras.com . Retrieved 5 December 2017 . ^ (#cite_ref-339) Hill, Daniel (August 2015). "PEACOCK REVOLUTION LEGACY: AMERICAN MEN'S FASHION IN THE 1970S" (https://0-www.bloomsburyfashioncentral.com.library.scad.edu/products/berg-fashion-library/encyclopedia/berg-encyclopedia-of-world-dress-and-fashion-global-perspectives/peacock-revolution-legacy-american-mens-fashion-in-the-1970s) . Bloomsbury Fashion Central . [ permanent dead link ] ^ (#cite_ref-340) Cunningham, Patricia (2005). "10 Dressing for Success: The Re-Suiting of Corporate America in the 1970s". Twentieth-Century American Fashion . Dress, Body, Culture. pp. 191–208. doi (/wiki/Doi_(identifier)) : 10.2752/9781847882837/tcaf0014 (https://doi.org/10.2752%2F9781847882837%2Ftcaf0014) . ISBN (/wiki/ISBN_(identifier)) 978-1-84788-283-7 . ^ Jump up to: a b c d e f "1970s Fashion for Men & Boys" (http://www.retrowaste.com/1970s/fashion-in-the-1970s/1970s-fashion-for-men-boys/) . Retrieved 2 July 2014 . ^ (#cite_ref-342) Livingston, Kathryn Zahony. "Fashion". World Book Year Book 1973: A Review of the Events of 1972 . Chicago, Illinois, USA: Field Enterprises Educational Corporation. p. 338. ISBN (/wiki/ISBN_(identifier)) 0-7166-0473-6 . Fashion went to men's feet in 1972 as shoes with wild colors, thick platforms, and 3-inch heels became popular with young and old alike. ^ (#cite_ref-343) Montefiore, Clarissa Sebag. "From Red Guards to Bond villains: Why the Mao suit endures" (https://www.bbc.com/culture/story/20151007-from-red-guards-to-bond-villains-why-the-mao-suit-endures) . BBC . Retrieved 5 December 2017 . ^ (#cite_ref-344) "Mao suit" (http://depts.washington.edu/chinaciv/clothing/11maosui.htm) . Depts.washington.edu . Retrieved 5 December 2017 . ^ (#cite_ref-345) "The Mao Suit" (https://suitelegante.wordpress.com/2015/04/24/the-mao-suit/) . 24 April 2015 . Retrieved 5 December 2017 . ^ (#cite_ref-346) "Safari suit designer dies" (http://www.couriermail.com.au/lifestyle/fashion/safari-suit-designer-dies/story-e6frer4o-1111118436606) . The Courier-Mail . Retrieved 5 December 2017 . ^ (#cite_ref-347) "Safari suit symbol of vanished modern India" (https://web.archive.org/web/20111216114437/http://www.thenational.ae/news/worldwide/south-asia/hail-the-safari-suit-vanished-symbol-of-modern-india) . The National . Abu Dhabi. Archived from the original (http://www.thenational.ae/news/worldwide/south-asia/hail-the-safari-suit-vanished-symbol-of-modern-india) on 16 December 2011 . Retrieved 5 December 2017 . ^ (#cite_ref-348) "The turbulent times of Don Dunstan, a revolutionary in hotpants" (https://www.independent.co.uk/news/world/australasia/the-turbulent-times-of-don-dunstan-a-revolutionary-in-hotpants-797146.html) . The Independent . 18 March 2008. Archived (https://ghostarchive.org/archive/20220501/https://www.independent.co.uk/news/world/australasia/the-turbulent-times-of-don-dunstan-a-revolutionary-in-hotpants-797146.html) from the original on 1 May 2022 . Retrieved 5 December 2017 . ^ (#cite_ref-349) "Safari Jacket – The Suits of James Bond" (https://web.archive.org/web/20160712150906/http://thesuitsofjamesbond.com/tag/safari-jacket/) . The Suits of James Bond . Archived from the original (http://thesuitsofjamesbond.com/tag/safari-jacket/) on 12 July 2016 . Retrieved 5 December 2017 . ^ (#cite_ref-350) "Les Sapeurs: Bringing subversive style to the Eastern Congo – The World Weekly" (https://web.archive.org/web/20181005215126/http://www.theworldweekly.com/reader/view/magazine/2016-03-03/les-sapeurs-bringing-subversive-style-to-the-eastern-congo/6945) . Theworldweekly.com . Archived from the original (http://www.theworldweekly.com/reader/view/magazine/2016-03-03/les-sapeurs-bringing-subversive-style-to-the-eastern-congo/6945) on 5 October 2018 . Retrieved 5 December 2017 . ^ (#cite_ref-351) "Mode : les nostalgiques des années 70 exhument l'Abacost – adiac-congo.com : toute l'actualité du Bassin du Congo" (http://adiac-congo.com/content/mode-les-nostalgiques-des-annees-70-exhument-labacost-39381) . Adiac-congo.com . Retrieved 5 December 2017 . ^ (#cite_ref-352) Auslander, Philip (5 December 2017). Performing Glam Rock: Gender and Theatricality in Popular Music . University of Michigan Press. ISBN (/wiki/ISBN_(identifier)) 978-0-472-06868-5 . ^ (#cite_ref-353) "1970s Fashion: The Moments That Defined Seventies Style" (https://web.archive.org/web/20160915171257/http://www.marieclaire.co.uk/blogs/548954/1970s-fashion-moments-that-defined-seventies-style.html) . Marie Claire . 17 March 2017. Archived from the original (http://www.marieclaire.co.uk/blogs/548954/1970s-fashion-moments-that-defined-seventies-style.html) on 15 September 2016 . Retrieved 5 December 2017 . ^ (#cite_ref-354) "The Evolution of Glam Rock Fashion" (http://www.rebelsmarket.com/blog/posts/the-evolution-of-glam-rock-fashion) . Rebelsmarket.com . Retrieved 5 December 2017 . ^ (#cite_ref-355) Kosbetz, Herbert (12 December 1971). "World of Seventh Ave" (https://www.nytimes.com/1971/12/12/archives/qiana-threading-way-to-top-jump-seen-in-usage-of-manmade-silky.html) . The New York Times : F13 . Retrieved 28 May 2022 . Qiana, a silk‐like fiber in the nylon family, has come into the wide‐use area of man‐made fibers...More and more, the fiber is going into apparel fabrics...When the fiber was introduced three years ago [1968], it was confined almost entirely to the couture trade...The fiber falls in the category of nylon owing to its molecular structure...Fabrics made of the fiber offer color clarity, luster, dyeability and draping qualities equal to or better than silk fabrics, and in terms of washability, they are said to outperform any other manmade fiber. ^ (#cite_ref-356) "High-Spirited Sportswear Rolls In" (https://www.nytimes.com/1974/04/21/archives/easy-does-it-highspirited-sportswearrolls-in.html) . The New York Times : 482. 21 April 1974 . Retrieved 28 May 2022 . A magnified hounds‐tooth check in Fourth‐of‐July colors explodes on Qiana...shirt; Wallpaper print flowers are displayed on Qiana for a shirt...; A stirrup design rides across Qiana...shirt... ^ (#cite_ref-357) Chernyshova, Natalya (26 June 2013). Soviet Consumer Culture in the Brezhnev Era . Routledge. ISBN (/wiki/ISBN_(identifier)) 978-1-135-04627-9 . ^ (#cite_ref-358) Rudevich, Alexéi (16 September 2014). "Worth going to prison for: Getting hold of jeans in the USSR" (http://rbth.com/arts/2014/09/16/worth_going_to_prison_for_getting_hold_of_jeans_in_the_ussr_39833.html) . Rbth.com . Retrieved 5 December 2017 . ^ (#cite_ref-359) "Vladivostok Conference 1974" (http://pages.ramapo.edu/~theed/Cold_War/d_Brezhnev_Era/f%20Ford_74_76/bb_VladivostokConf.html) . Pages.ramapo.edu . Retrieved 5 December 2017 . ^ (#cite_ref-360) Hyde, Nina S. (/wiki/Nina_Hyde) (23 March 1978). "Designers Say It's the Casual, Rumpled Look for Men This Year" (https://www.washingtonpost.com/archive/lifestyle/1978/03/23/designers-say-its-the-casual-rumpled-look-for-men-this-year/cf8c48a2-aad4-4a64-98b8-f912b457dd82/) . The Washington Post . Retrieved 7 February 2022 . Following the direction women's clothes have taken for the last two or three years, designers expect men to adopt a looser, freer, softer look...Changes include: Jackets with less inner construction,..Softer, more loosely woven natural fabrics that allow jacket sleeves to be pushed up and collars turned up to underscore a more casual, even rumpled look[;] Clothes cut more loosely...[;] Pants, often shaped with pleats and slightly tapered to the hem, meant to be cuffed for business and dress, uncuffed for casual wear....Stefano Ottina, an Italian who designs for Punch and has a shop at the Watergate, says,...'You feel liberated in these suits because they have no stiff construction.'...American designers touting the look, including superstar Calvin Klein, refer to it as 'unconstructed'... ^ (#cite_ref-361) Steck, Duncan G. "Fashion". 1979 Collier's Yearbook Covering the Year 1978 . Crowell-Collier Publishing Company. p. 252. The trend in menswear for 1978 was to an open, flowing look – loose shirts, looser, sometimes shapeless pants, sweaters, and loosely tied scarfs. The word used most by commentators at fashion shows was 'soft.'...Almost all the designers picked up the new loose and flowing silhouette....Several designers...were taking out shoulder padding, letting the [jacket] waist out, and...letting the suit settle over the contours of the body without imposing a preselected silhouette. ^ (#cite_ref-362) Costin, Stanley H. (1979). "Fashion and Dress". 1979 Britannica Book of the Year . New York, USA: Encyclopedia Britannica. p. 379. ISBN (/wiki/ISBN_(identifier)) 978-0-85229-362-1 . The two key words at [menswear trade exhibitions] were 'soft' and 'unstructured.'...Jackets were finished with softer interlinings and padding or, in some cases, with none at all. ^ (#cite_ref-363) Hyde, Nina S. (/wiki/Nina_Hyde) (13 November 1977). "Comings and Goings at Studio 54" (https://www.washingtonpost.com/archive/lifestyle/1977/11/13/comings-and-goings-at-studio-54/5be9f11b-a927-4bea-a6c4-62358a75c28f/) . The Washington Post . Retrieved 4 April 2022 . Geoffrey Beene showed his menswear last week, mostly unconstructed cotton suits or big tops, much like he shows for women... ^ (#cite_ref-364) Hyde, Nina S. (/wiki/Nina_Hyde) (1 November 1977). "Paris Fashions in the Fall: Big is Best" (https://www.washingtonpost.com/archive/lifestyle/1977/11/01/paris-fashion-in-the-fall-big-is-best/fa54dfc8-9030-437b-b086-5c775e258fcc/) . The Washington Post . Retrieved 10 December 2021 . Men, too, take fashion in a far more relaxed way...Vests have given way to sweaters and stiff jackets to unlined blouson shapes or vests...Except for the strict business suit, ties have been abandoned and if anything takes its place, it is the muffler. ^ (#cite_ref-365) La Ferla, Ruth (21 October 1990). "Fashion: Sizing Up Giorgio Armani" (https://www.nytimes.com/1990/10/21/magazine/fashion-sizing-up-giorgio-armani.html) . The New York Times : 55 . Retrieved 10 December 2021 . [Armani's] career has been punctuated by a series of radical gestures, beginning with the unconstructed blazer of the mid-1970's – his epochal creation....The blazer, a calculatedly rumpled affair, featured sloping shoulders, narrow lapels, baggy pockets and an attenuated line. More importantly, it was endowed with a mobility previously unknown in men's suit jackets, except on Savile Row. It had the kind of comfort found only in sports clothing, which he achieved in part by stripping out much of its cumbersome lining and padding. ^ (#cite_ref-366) Hyde, Nina S. (/wiki/Nina_Hyde) (2 October 1977). "Men's Fashion" (https://www.washingtonpost.com/archive/lifestyle/magazine/1977/10/02/mens-fashion/084ddec0-00ee-423f-81fb-159e5a0f5a22/) . The Washington Post . Retrieved 24 March 2022 . The suit is now at ease, the fit looser, the shoulders softer, the lapels narrower, the shirt collar trimmed and the necktie slimmed down. ^ (#cite_ref-367) Costin, Stanley H. (1979). "Fashion and Dress". 1979 Britannica Book of the Year . New York, USA: Encyclopedia Britannica. p. 379. ISBN (/wiki/ISBN_(identifier)) 978-0-85229-362-1 . Lapels generally were narrower on jackets, and some narrower cuffs were seen on trousers....Ties were narrower. ^ (#cite_ref-368) Costin, Stanley H. (1979). "Fashion and Dress". 1979 Britannica Book of the Year . New York, USA: Encyclopedia Britannica. p. 379. ISBN (/wiki/ISBN_(identifier)) 978-0-85229-362-1 . Young men began wearing their jackets with the collar turned up, the shirt left unbuttoned at the neck, and the tie knotted at 'half mast'. ^ (#cite_ref-369) Louie, Elaine (18 September 1977). "What the Insiders Say About Men's Fashion" (https://www.nytimes.com/1977/09/18/archives/what-the-insiders-say-about-mens-fashion-fabrics-silhouettes-shirts.html) . The New York Times : SM224 . Retrieved 27 March 2022 . The jacket is paired with straight‐legged trousers, either plain fronted or with single or double pleats. ^ (#cite_ref-370) Donovan, Carrie (13 November 1977). "Fashion" (https://www.nytimes.com/1977/11/13/archives/fashion-milan-designers-come-of-age-from-milan.html) . The New York Times : SM34 . Retrieved 4 April 2022 . The new men's designs...emphasized casualness, with big jackets or big shirts worn with baggy, slightly pegged pants. ^ (#cite_ref-371) Hyde, Nina S. (/wiki/Nina_Hyde) (1 November 1977). "Paris Fashion in the Fall: Big is Best" (https://www.washingtonpost.com/archive/lifestyle/1977/11/01/paris-fashion-in-the-fall-big-is-best/fa54dfc8-9030-437b-b086-5c775e258fcc/) . The Washington Post . Retrieved 24 March 2022 . Men, too, take fashion in a far more relaxed way....Vests have given way to sweaters and stiff jackets to unlined blouson shapes or vests, particularly on weekends. Except for the strict business suit, ties have been abandoned and if anything takes its place, it is the muffler. ^ (#cite_ref-372) Hyde, Nina S. (/wiki/Nina_Hyde) (1 January 1978). "Fashion Notes" (https://www.washingtonpost.com/archive/lifestyle/1978/01/01/fashion-notes/d8df3044-440b-4fbf-a216-7c263cbd2d5b/) . The Washington Post . Retrieved 10 February 2022 . Fashion punch words from 1977 that carry into spring and summer 1978: softness, easy, loose, light....For men, it is a break from stiff seams and sturdy linings...(I)t means loose fitting clothes in lightweight, unlined natural fabrics. ^ (#cite_ref-373) "Saturday Night Fever" (https://www.imdb.com/title/tt0076666/) . IMDb. 16 December 1977 . Retrieved 5 December 2017 . ^ (#cite_ref-374) "Vogue's fashion encyclopaedia: The history of aviator sunglasses" (https://www.vogue.in/fashion/content/aviator-sunglasses-history-celebrities-ray-ban) . Vogue India . 26 July 2019 . Retrieved 9 August 2021 . ^ (#cite_ref-375) Tierney, Tom (5 December 2017). Everyday Fashions of the 20th Century . Courier Corporation. ISBN (/wiki/ISBN_(identifier)) 978-0-486-99544-1 . ^ (#cite_ref-376) Steck, Duncan G. "Fashion". 1979 Collier's Yearbook Covering the Year 1978 . Crowell-Collier Publishing Company. p. 252. Jeffrey Banks liked suits with a definite shoulder...Pierre Cardin introduced the Concorde shape: shorter and boxier jackets with details around the shoulder minimized to play up the width... ^ (#cite_ref-377) Morris, Bernadine (28 July 1978). "Paris Couture Collections End With a Salute to Tradition" (https://www.nytimes.com/1978/07/28/archives/paris-couture-collections-end-with-a-salute-to-tradition.html) . The New York Times : A12 . Retrieved 16 March 2022 . Gilbert Feruch's...men's jackets...taper from broad shoulders and deep armholes to fit snugly at the hips. ^ (#cite_ref-378) Alexander, Ron (16 September 1979). "Shoulder It, Men: Padding is Back" (https://www.nytimes.com/1979/09/16/archives/westchester-weekly-shoulder-it-men-padding-is-back-american.html) . The New York Times : CN21 . Retrieved 10 December 2021 . Even men who shrug at fashion will probably find themselves in jackets with padded shoulders this fall. Broad shoulders are back...Calvin Klein['s]...shoulders are broad, not extreme, but there is definite padding....Pierre Cardin refers to his new silhouette as 'an upside-down triangle',...designing clothes with broader shoulders...Yves Saint Laurent...is building [shoulders] up again....Bill Kaiserman advocates...'strong but not extreme' shoulders....Lee Wright designs...clothing...inspired by the Italian V-silhouette... ^ (#cite_ref-379) Russell, Mary (4 March 1979). "Men's Fashion" (https://www.nytimes.com/1979/03/04/archives/mens-fashion-in-italy-they-suit-themselves-and-the-world.html) . The New York Times : SM19 . Retrieved 10 December 2021 . Armani's 1979 jackets are wide at the shoulder with a narrowing at the waist and low button closing. ^ (#cite_ref-380) Alexander, Ron (16 September 1979). "Shoulder It, Men: Padding is Back" (https://www.nytimes.com/1979/09/16/archives/westchester-weekly-shoulder-it-men-padding-is-back-american.html) . The New York Times : WC21 . Retrieved 10 December 2021 . Calvin Klein's...buttons are fashionably low... ^ (#cite_ref-381) Alexander, Ron (16 September 1979). "Shoulder It, Men: Padding is Back" (https://www.nytimes.com/1979/09/16/archives/westchester-weekly-shoulder-it-men-padding-is-back-american.html) . The New York Times : WC21 . Retrieved 10 December 2021 . ...[J]acket bottoms are close‐fitting. ^ (#cite_ref-382) Alexander, Ron (16 September 1979). "Shoulder It, Men: Padding is Back" (https://www.nytimes.com/1979/09/16/archives/westchester-weekly-shoulder-it-men-padding-is-back-american.html) . The New York Times : WC21 . Retrieved 10 December 2021 . Bill Kaiserman advocates slightly shorter and always ventless jackets...Hardy Amies...emphasizes double-breasted suits with surprisingly...narrow lapels on unvented, shoulder‐expressed jackets. ^ (#cite_ref-383) Hyde, Nina S. (/wiki/Nina_Hyde) (9 April 1979). "Broad Shouldered Paris" (https://www.washingtonpost.com/archive/lifestyle/1979/04/09/broad-shouldered-paris/577026de-3fea-4114-b771-eaced95767d6/) . The Washington Post . Retrieved 4 April 2022 . Claude Montana, who was the first with the biggest shoulders in Paris,...padded the shoulders and sleeves of his...windbreaker... ^ (#cite_ref-384) Steck, Duncan G. "Fashion". 1979 Collier's Yearbook Covering the Year 1978 . Crowell-Collier Publishing Company. p. 252. Pierre Cardin introduced...shorter and boxier jackets... ^ (#cite_ref-385) Alexander, Ron (16 September 1979). "Shoulder It, Men: Padding is Back" (https://www.nytimes.com/1979/09/16/archives/westchester-weekly-shoulder-it-men-padding-is-back-american.html) . The New York Times : WC21 . Retrieved 10 December 2021 . Pierre Cardin...is designing clothes with broader shoulders and cutting back lapel widths to make the shoulders more pronounced... ^ (#cite_ref-386) La Ferla, Ruth (21 October 1990). "Fashion: Sizing Up Giorgio Armani" (https://www.nytimes.com/1990/10/21/magazine/fashion-sizing-up-giorgio-armani.html) . The New York Times : 55 . Retrieved 10 December 2021 . At the end of the 1970's, Armani altered his style dramatically. Taking his design cues from Hollywood costumes of the 1930's and 40's, he widened the lapels of his suits and extended and padded the shoulders. ^ (#cite_ref-387) Hyde, Nina S. (/wiki/Nina_Hyde) (18 February 1979). "Fashion Notes" (https://www.washingtonpost.com/archive/lifestyle/1979/02/18/fashion-notes/f08fde5b-950a-4830-890e-80f39edaa537/) . The Washington Post . Retrieved 16 March 2022 . ...[J]ust as the eye is getting attuned to the smaller proportions in menswear -- narrower lapels, skinnier ties, shorter collars, slender-er belts and skimpier cuffs -- Italian designer Giorgio Armani, the father of this look, has swung to wider lapels, long pointy shirt collars and bottle shaped ties. ^ (#cite_ref-388) [ Keith Rylatt and Phil Scott. Central 1179: The Story of Manchester's Twisted Wheel Club. BeeCool Publishing. 2001] ^ (#cite_ref-389) "Chris Hunt – Mod Revival" (http://www.chrishunt.biz/features08.html) . Chrishunt.biz . Retrieved 5 December 2017 . ^ (#cite_ref-390) "Greased Quiffs and Flick Knives: Growing Up Teddy Boy in 1970s England" (https://www.vice.com/en_uk/read/what-will-become-of-the-teddy-boys-282) . Vice.com . 2 February 2015 . Retrieved 5 December 2017 . ^ (#cite_ref-391) "The Edwardian Teddy Boy – Leeds Teddy Boys" (https://web.archive.org/web/20171205194731/http://www.edwardianteddyboy.com/page39.htm) . Edwardianteddyboy.com . Archived from the original (http://www.edwardianteddyboy.com/page39.htm) on 5 December 2017 . Retrieved 5 December 2017 . ^ (#cite_ref-392) "Photos of hippies" (https://web.archive.org/web/20160703213944/http://www.sixtiespix.com/iconic-general-t.html) . Sixtiespix.com . Archived from the original (http://www.sixtiespix.com/iconic-general-t.html) on 3 July 2016 . Retrieved 5 December 2017 . ^ (#cite_ref-393) "Troubled Times: 1961–79 – Fashion, Costume, and Culture: Clothing, Headwear, Body Decorations, and Footwear through the Ages" (http://www.fashionencyclopedia.com/fashion_costume_culture/Modern-World-Part-II-1961-1979/Troubled-Times-1961-79.html) . Fashionencyclopedia.com . Retrieved 7 October 2017 . ^ (#cite_ref-394) "Bell-Bottoms facts, information, pictures | Encyclopedia.com articles about Bell-Bottoms" (http://www.encyclopedia.com/fashion/encyclopedias-almanacs-transcripts-and-maps/bell-bottoms) . Encyclopedia.com . Retrieved 7 October 2017 . ^ (#cite_ref-395) "::: Nambassa :::" (http://www.nambassa.com/) . Nambassa.com . Retrieved 5 December 2017 . ^ (#cite_ref-396) Weinstein, Deena (5 August 2009). Heavy Metal: The Music And Its Culture . Da Capo Press. ISBN (/wiki/ISBN_(identifier)) 978-0-7867-5103-7 . ^ (#cite_ref-397) Phillips, William; Cogan, Brian (20 March 2009). Encyclopedia of Heavy Metal Music . ABC-CLIO. ISBN (/wiki/ISBN_(identifier)) 978-0-313-34801-3 . ^ (#cite_ref-398) "Higher Bitesize History – Post-war race relations : Revision, Page4" (https://www.bbc.co.uk/bitesize/higher/history/usa/postwar/revision/4/) . BBC . Retrieved 5 December 2017 . ^ (#cite_ref-399) "Black Power" (http://www.gettyimages.co.uk/detail/news-photo/book-about-black-power-lies-next-to-a-pair-of-running-shoes-news-photo/2666038) . Getty Images (/wiki/Getty_Images) . Retrieved 5 December 2017 . ^ (#cite_ref-400) "Black Dragons: The Black Punk Gang Who Fought Racism & Skinheads in 1980s France" (http://www.okayafrica.com/featured/black-punk-black-dragons-france/) . Okayafrica.com . 10 August 2016 . Retrieved 5 December 2017 . ^ (#cite_ref-401) "In Search of African America: One Collector's Experience. An exhibit at the Herbert Hoover Presidential Museum" (https://web.archive.org/web/20171113181542/https://hoover.archives.gov/exhibits/africanamerican/blackpower/) . Hoover.archives.gov . Archived from the original (https://hoover.archives.gov/exhibits/africanamerican/blackpower/) on 13 November 2017 . Retrieved 5 December 2017 . ^ (#cite_ref-402) Company, Johnson Publishing (1 September 1969). "Ebony" (https://books.google.com/books?id=w9oDAAAAMBAJ&pg=PA134) . ^ (#cite_ref-403) "Ebony" (https://books.google.com/books?id=RtcDAAAAMBAJ&q=afro+hair&pg=PA132) . Johnson Publishing Company. 1 February 1973. p. 132. ^ (#cite_ref-404) "Jet" (https://books.google.com/books?id=F1sDAAAAMBAJ&pg=PA16) . Johnson Publishing Company. 13 July 1972. p. 16 . Retrieved 5 December 2017 – via Google Books. ^ (#cite_ref-405) Bruzzi, Stella (12 October 2012). Undressing Cinema: Clothing and identity in the movies . Routledge. ISBN (/wiki/ISBN_(identifier)) 978-1-134-77059-5 . ^ (#cite_ref-406) Rodriguez, Marc Simon (13 November 2014). Rethinking the Chicano Movement . Routledge. ISBN (/wiki/ISBN_(identifier)) 978-1-136-17537-4 . ^ (#cite_ref-407) "Chicano Movement of Washington State History Project" (http://depts.washington.edu/civilr/mecha_intro.htm) . Depts.washington.edu . Retrieved 5 December 2017 . ^ (#cite_ref-408) "Young Chicano Revolutionaries" (http://www.fightbacknews.org/2003winter/brownberets.htm) . Fightbacknews.org . Retrieved 5 December 2017 . ^ (#cite_ref-409) "That '60s story: Chicanos y the Citizen – Tucson Citizen Morgue, Part 1 (2006–2009)" (http://tucsoncitizen.com/morgue/2009/03/09/111691-that-60s-story-chicanos-y-the-citizen/) . Tucsoncitizen.com . Retrieved 5 December 2017 . ^ Jump up to: a b Wilcox, Claire. Vivienne Westwood: 34 years in fashion . V&A PUBLICATIONS. pp. 12–13. ^ (#cite_ref-411) "Doc Martens" (http://www.fashionencyclopedia.com/fashion_costume_culture/Modern-World-Part-II-1961-1979/Doc-Martens.html) . Retrieved 27 July 2014 . ^ (#cite_ref-70sPunk_412-0) "Punk" (http://www.fashionencyclopedia.com/fashion_costume_culture/Modern-World-Part-II-1961-1979/Punk.html) . Retrieved 27 July 2014 . ^ (#cite_ref-buzzle.com_413-0) "1970s Hairstyles" (http://www.buzzle.com/articles/1970s-hairstyles.html) . Buzzle.com . 21 September 2011 . Retrieved 28 July 2016 . ^ Jump up to: a b Walker, Susannah (2000). "Black Is Profitable: The Commodification of the Afro, 1960—1975" (https://www.jstor.org/stable/23699596) . Enterprise & Society . 1 (3): 536–564. doi (/wiki/Doi_(identifier)) : 10.1093/es/1.3.536 (https://doi.org/10.1093%2Fes%2F1.3.536) . ISSN (/wiki/ISSN_(identifier)) 1467-2227 (https://www.worldcat.org/issn/1467-2227) . JSTOR (/wiki/JSTOR_(identifier)) 23699596 (https://www.jstor.org/stable/23699596) . ^ (#cite_ref-415) Murray Chass, "Harvard's Hairy Five Makes Some Foes Bristle", The New York Times , 28 February 1971, pg. S4. ^ (#cite_ref-416) "Farrah Fawcett Look" (http://www.fashionencyclopedia.com/fashion_costume_culture/Modern-World-Part-II-1961-1979/Farrah-Fawcett-Look.html) . Fashionenecyclopedia.com . Retrieved 26 July 2014 . ^ (#cite_ref-417) "Long Hair for Men" (http://www.fashionencyclopedia.com/fashion_costume_culture/Modern-World-Part-II-1961-1979/Long-Hair-for-Men.html) . Fashionenecyclopedia.com . Retrieved 26 July 2014 . ^ Jump up to: a b c De Castelbajac, pp. 147–48. External links [ edit ] Wikimedia Commons has media related to 1970s fashion (https://commons.wikimedia.org/wiki/Category:1970s_fashion) . 1970s Fashion History (http://www.fashion-era.com/1970s.htm) 20th Century Fashion History: 1970s (http://www.costumegallery.com/1970.htm) Men's Fashion History from the 1970s (http://www.dressthatman.com/) Fashion Trends in the 1970s (https://worldrepublicnews.com/young-womens-fashion-styles-in-the-1970s/) It Came from the 1971 Sears Catalog (https://web.archive.org/web/20070717201419/http://www.aperfectworld.org/sears.htm) Children's clothing from the 1970s (http://www.wisconsinhistory.org/museum/collections/online/Results.cfm?ParentID=378553) Archived (https://web.archive.org/web/20090213113438/http://www.wisconsinhistory.org/museum/collections/online/Results.cfm?ParentID=378553) 13 February 2009 at the Wayback Machine (/wiki/Wayback_Machine) "1970s – 20th Century Fashion Drawing and Illustration" (https://web.archive.org/web/20110108030021/http://www.vam.ac.uk/collections/fashion/features/20th_century_fashion_drawing_illustration/1970s/index.html) . Fashion, Jewellery & Accessories . Victoria and Albert Museum (/wiki/Victoria_and_Albert_Museum) . Archived from the original (http://www.vam.ac.uk/collections/fashion/features/20th_century_fashion_drawing_illustration/1970s/index.html) on 8 January 2011 . Retrieved 3 April 2011 . 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Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=1970s_in_fashion&oldid=1230633728 (https://en.wikipedia.org/w/index.php?title=1970s_in_fashion&oldid=1230633728) " Categories (/wiki/Help:Category) : 1970s fashion (/wiki/Category:1970s_fashion) 1970s decade overviews (/wiki/Category:1970s_decade_overviews) Hidden categories: All articles with dead external links (/wiki/Category:All_articles_with_dead_external_links) Articles with dead external links from February 2021 (/wiki/Category:Articles_with_dead_external_links_from_February_2021) Articles with permanently dead external links (/wiki/Category:Articles_with_permanently_dead_external_links) Articles with short description (/wiki/Category:Articles_with_short_description) Short description matches Wikidata (/wiki/Category:Short_description_matches_Wikidata) Use dmy dates from December 2022 (/wiki/Category:Use_dmy_dates_from_December_2022) Commons category link is on Wikidata (/wiki/Category:Commons_category_link_is_on_Wikidata) Webarchive template wayback links (/wiki/Category:Webarchive_template_wayback_links) |
Manufacturing process Basic pattern of warp knitting. Parallel yarns zigzag lengthwise along the fabric, each loop securing a loop of an adjacent strand from the previous row. Warp knitting is defined as a loop-forming process in which the yarn is fed into the knitting zone, parallel to the fabric selvage. It forms vertical loops in one course and then moves diagonally to knit the next course. Thus the yarns zigzag from side to side along the length of the fabric. Each stitch in a course is made by many different yarns. Each stitch in one wale is made by several different yarns. History [ edit ] Credit for the invention is usually given to a mechanic called Josiah Crane in 1775. He likely sold his invention to Richard March who patented (No. 1186) a warp frame in 1778. In the intervening three years March likely had discussed the device with Morris who submitted a similar patent (No.1282) for a twisting machine for making Brussels point lace. These early machines were modifications of the stocking frame (/wiki/Stocking_frame) with an additional warp beam. [1] (#cite_note-FOOTNOTEEarnshaw198630-1) In 1795, the machine was successfully used to make lacy fabrics. [2] (#cite_note-FOOTNOTERosatto19489-2) Warp frames could be used with any thread, and the warps provided a fixed anchor for the transverse threads. In 1786, Flint invented the point bar which kept the threads at a fixed distance. In 1796, Dawson introduced cams to move the bars, and regulate the twist. Brown and Copstake succeeded in imitating Mechlen net. Lindley invented the bobbin in 1799, and Irving and Skelton the regulator spring. In 1802, Robert Brown of New Radford patented the first twist-frame, a knitter that could produce wide net. Whittaker's frame of 1804 had half its thread mounted on a warp beam and half wound on bobbins mounted on a carriage. [3] (#cite_note-FOOTNOTERosatto194810-3) Heathcote's 1808 improvement of Whittaker's frame was essentially a warp knitting frame. The bobbin carrying beam was reduced to the same size as the machine- he called it a bobbinet (/wiki/Bobbinet) . [3] (#cite_note-FOOTNOTERosatto194810-3) Heathcote's second patent, in 1809, was for a bobbinet that could produce wide fabrics; this was the Old Loughborough (/wiki/Old_Loughborough) . [4] (#cite_note-FOOTNOTERosatto194811-4) Machine classification [ edit ] In general, warp knitting machine is to distinguish between tricot and raschel by the type of sinkers with which the machine is equipped and the role they play in loop formation. The sinkers used for tricot knitting machines control the fabric throughout the knitting cycle. The fabric is held in the throats of the sinkers while the needles rise to clear and the new loops are knocked over in-between them. In Raschel knitting, however, the fabric is controlled by a high take-up tension and the sinkers are only used to ensure that the fabric stays down when the needles rise. Tricot machine [ edit ] Tricot is very common in lingerie (/wiki/Lingerie) and underwear. The right side of the fabric has fine lengthwise ribs while the reverse has crosswise ribs. [5] (#cite_note-Samplings-5) The properties of these fabrics include having a soft and 'drapey' texture with some lengthwise stretch and almost no crosswise stretch. [5] (#cite_note-Samplings-5) Tricot machines are produced with 2, 3, or 4 guide bars. Tricot machines have a vast application, such as elastic and non-elastic mesh fabric, velvet fabric, and others. Tricot machine generally uses E28, E32, E36, and E40. At present, the widest working width of tricot machine has reached 335 inches. [6] (#cite_note-6) Towel tricot machine [ edit ] Towel warp knitting machine TS4C for microfiber towel fabrics. The Terry Warp Knitting Machine holds significant prominence in the production of microfiber terry towels , specifically intended for cleaning purposes. Additionally, the Changzhou A-ZEN terry towel machines, namely the TS4C and TS4C-EL models, demonstrate versatile applicability by accommodating the manufacturing of cotton towels as well. Evidently, the demand for cotton towel knitting machines has been steadily escalating, prompting increased interest from customers. In contrast to conventional loom terry machines, the microfiber terry towel machine exhibits significantly augmented productivity, while concurrently boasting a more environmentally sustainable and resource-efficient manufacturing process In addition, the Superpol Towel Machine also belongs to tricot machines. Milanese knit [ edit ] Milanese is stronger, more stable, smoother and more expensive than tricot and, hence, is used in better lingerie. These knit fabrics are made from two sets of yarn knitted diagonally, which results in the face fabric having a fine vertical rib and the reverse having a diagonal structure, and results in these fabrics being lightweight, smooth, and run-resistant. [5] (#cite_note-Samplings-5) Milanese is now virtually obsolete. Raschel machine [ edit ] Drawing of an old Raschel machine In 1855, Redgate combined the principles of a circular loom with those of warp knit. A German firm used this machine to produce "Raschel" shawls, named after the French actress Élisabeth Félice (/wiki/Rachel_(actress)) Rachel . In 1859 Wilhelm Barfuss improved the machine to create the Raschel machines. [7] (#cite_note-7) The Jacquard (/wiki/Jacquard_weaving) apparatus was adapted to it in the 1870s. The Raschel machine could work at higher speeds than the Leavers (/wiki/Lace_machine) machine and proved the most adaptable to the new synthetic fibres, such as nylon and polyester, in the 1950s. Most contemporary machine-made lace is made on Raschel machines. [8] (#cite_note-FOOTNOTEFarrell2007-8) Raschel knits do not stretch significantly and are often bulky; consequently, they are often used as an unlined material for coats, jackets, straight skirts and dresses. These fabrics can be made out of conventional or novelty yarns which allows for interesting textures and designs to be created. [5] (#cite_note-Samplings-5) The qualities of these fabrics range from "dense and compact to open and lofty [and] can be either stable or stretchy, and single-faced or reversible. [5] (#cite_note-Samplings-5) The largest outlet for the Raschel warp knitting machine is for lace (/wiki/Lace) fabric and trimmings. Raschel knitting is also used in outdoors and military fabrics for products such as backpacks. It is used to provide a ventilated mesh next to the user's body (covering padding) or mesh pockets and pouches to facilitate visibility of the contents (MIL-C-8061). Raschel machines include raschel lace machines, double-needle bar raschel machines , raschel jacquard machines , and high-speed raschel machines. Stages in creating the loop Golden lace Lace appliqué Raschel lace Stitch-bonding [ edit ] Stitch-bonding is a special form of warp knitting [9] (#cite_note-Improvements-9) and is commonly used for the production of composite materials (/wiki/Composite_materials) and technical textiles (/wiki/Technical_textiles) . Stitch-bonding machines are used for the sewing processing of nonwoven fabric, to increase its fastness and toughness. The stitch-bonding warp knitting machine or Non-woven warp knitting machine is for producing technical textiles such as shoe interlining, shopping bag, geotextile dewatering bags, reinforced composite glass fiber textile and other fabrics. As a method of production, stitch-bonding is efficient, and is one of the most modern ways to create reinforced textiles and composite materials [10] (#cite_note-Application-10) for industrial use. The advantages of the stitch-bonding process include its high productivity rate and the scope it offers for functional design of textiles, such as fiber-reinforced plastics. [10] (#cite_note-Application-10) Stitch-bonding involves layers of threads and fabric being joined together with a knitting thread, which creates a layered structure called a multi-ply. [11] (#cite_note-Engineering-11) This is created through a warp-knitting thread system, which is fixed on the reverse side of the fabric with a sinker loop, and a weft thread layer. [10] (#cite_note-Application-10) A needle with the warp thread passes through the material, which requires the warp and knitting threads to be moving both parallel and perpendicular to the vertical/warp direction of the stitch-bonding machine. [11] (#cite_note-Engineering-11) Stitch-bonded fabrics are currently being used in such fields as wind energy generation and aviation. [10] (#cite_note-Application-10) Research is currently being conducted into the usage and benefits of stitch-bonded fabrics as a way to reinforce concrete. Fabrics produced with this process offer the potential of using "sensitive fiber materials such as glass and carbon with only little damage, non-crimp fiber orientation and variable distance between threads". [10] (#cite_note-Application-10) In the extended stitch-bonding process (or the extended warp-knitting process), the compound needle that pierces the piles is shifted laterally according to the yarn guides. [9] (#cite_note-Improvements-9) This then makes it possible for the layers of the stitch-bonded fabric to be arranged freely and be made symmetrical in one working step. [9] (#cite_note-Improvements-9) This process is advantageous to the characteristics of the composite as the "residual stresses resulting from asymmetric alignment of the layers are avoided, [while] the tensile strength and the impact strength of the composite are improved." [12] (#cite_note-12) Needle shift [ edit ] Needle shift technique is when both outer warp layers are secured in one procedure by incorporating a shift of the needle bar during stitching, creating endless possibilities for the arrangement and patterns in stitch-bonding. [9] (#cite_note-Improvements-9) Patterning [ edit ] The pattern creation of warp knitted structures is a complex process, because the structure depends on the motions of several guide bars and where these have yarns. Kyosev (/wiki/Yordan_Kyosev) demonstrated [13] (#cite_note-13) that for the building of only one loop at one cycle there are 18 geometric configurations of the yarn ends – 3 different directions from which the guide is coming, multiplied by 2 loop types - open or closed, multiplied by 3 different directions in which the yarn/guide is after that going - left, up, or right). For two guide bars the configurations are 18 ⋅ ⋅ 18 = 324 {\displaystyle 18\cdot 18=324} combinations and the modern machines have 4 and more guide bars. Kyosev (/wiki/Yordan_Kyosev) and Renkens [14] (#cite_note-14) created various versions of CAD software for 3D design of warp knitted fabrics [15] (#cite_note-15) and contributed with it in a book with the fundamentals of the patterning, [16] (#cite_note-16) where about 100 samples can be downloaded and viewed as 3D structure. Advantages [ edit ] Producing textiles through the warp knitting process has the following advantages: [17] (#cite_note-17) higher productivity rates than weaving (/wiki/Weaving) variety of fabric constructions large working widths low stress rate on the yarn that allows for use of fibers such as glass, aramid and carbon the creation of three-dimensional structures that can be knitted on double needle bar raschels Applications [ edit ] Warp knitted fabrics have several industrial uses, including producing mosquito netting, tulle fabrics, sports wear, shoe fabric, fabrics for printing and advertising, coating substrates and laminating backgrounds. [18] (#cite_note-18) Research is also being conducted into the use of warp knitted fabrics for industrial applications (for example, to reinforce concrete), and for the production of biotextiles. Warp knitting and biotextiles [ edit ] The warp knitting process is also being used to create biotextiles (/wiki/Biotextile) . For example, a warp knitted polyester cardiac support device has been created to attempt to limit the growth of diseased hearts by being installed tightly around the diseased heart. Current research on animals "have confirmed that … the implantation of the device reverses the disease state, which makes this an alternative innovative therapy for patients who have side effects from traditional drug remedies". [19] (#cite_note-19) References [ edit ] Notes ^ (#cite_ref-FOOTNOTEEarnshaw198630_1-0) Earnshaw 1986 (#CITEREFEarnshaw1986) , p. 30. ^ (#cite_ref-FOOTNOTERosatto19489_2-0) Rosatto 1948 (#CITEREFRosatto1948) , p. 9. ^ Jump up to: a b Rosatto 1948 (#CITEREFRosatto1948) , p. 10. ^ (#cite_ref-FOOTNOTERosatto194811_4-0) Rosatto 1948 (#CITEREFRosatto1948) , p. 11. ^ Jump up to: a b c d e Veblen, Sarah (19 November 2008). "Samplings of Weft and Warp Knit Fabrics" (https://web.archive.org/web/20120108082825/http://www.threadsmagazine.com/item/4179/samplings-of-weft-knit-and-warp-knit-fabrics/page/all) . Threads . No. 97. pp. 59–63. Archived from the original (http://www.threadsmagazine.com/item/4179/samplings-of-weft-knit-and-warp-knit-fabrics/page/all) on 2012-01-08. ^ (#cite_ref-6) High-speed tricot machine | 335" Wide Super-soft Velvet Tricot Machine , retrieved 2023-07-14 ^ (#cite_ref-7) Silva, Marcos (2008). MALHARIA - BASES DE FUNDAMENTAÇÃO . Universidade Federal do Rio Grande do Norte. p. 2 . Retrieved 2014-12-22 . ^ (#cite_ref-FOOTNOTEFarrell2007_8-0) Farrell 2007 (#CITEREFFarrell2007) . ^ Jump up to: a b c d Hausding J, Cherif C (2012). "Improvements in the warp-knitting process and new patterning techniques for stitch-bonded textiles" (http://www.tandfonline.com/doi/abs/10.1080/00405000802370354) . Journal of the Textile Institute . 101 (3): 187–196. doi (/wiki/Doi_(identifier)) : 10.1080/00405000802370354 (https://doi.org/10.1080%2F00405000802370354) . S2CID (/wiki/S2CID_(identifier)) 137629735 (https://api.semanticscholar.org/CorpusID:137629735) . ^ Jump up to: a b c d e Hausding J, Lorenz E, Ortlepp R, Lundahl A (2011). "Application of stitch-bonded multi-plies made by using the extended warp knitting process: reinforcements with symmetrical layer arrangement for concrete". Journal of the Textile Institute : 1. ^ Jump up to: a b Gokarneshan N, Varadarajan B, Sentil kumar CB, Balamurugan K, Rachel A (2011). "Engineering knits for versatile technical applications: Some insights on recent researches". Journal of the Textile Institute : 68. ^ (#cite_ref-12) Hausding J, Widulle C, Paul C, Cherif C (June 2008). "Manufacturing method for symmetric laminates for improves stitch bonded multi-plies". 13th European Conference on Composite Materials . ^ (#cite_ref-13) Kyosev, Yordan (2019), "Topological Modelling of Knitted Structures" (http://link.springer.com/10.1007/978-3-030-02541-0_5) , Topology-Based Modeling of Textile Structures and Their Joint Assemblies , Cham: Springer International Publishing, pp. 91–129, doi (/wiki/Doi_(identifier)) : 10.1007/978-3-030-02541-0_5 (https://doi.org/10.1007%2F978-3-030-02541-0_5) , ISBN (/wiki/ISBN_(identifier)) 978-3-030-02540-3 , S2CID (/wiki/S2CID_(identifier)) 88491360 (https://api.semanticscholar.org/CorpusID:88491360) , retrieved 2023-01-19 ^ (#cite_ref-14) Renkens, Wilfried; Kyosev, Yordan (2011). "Geometry modelling of warp knitted fabrics with 3D form" (http://journals.sagepub.com/doi/10.1177/0040517510385171) . Textile Research Journal . 81 (4): 437–443. doi (/wiki/Doi_(identifier)) : 10.1177/0040517510385171 (https://doi.org/10.1177%2F0040517510385171) . ISSN (/wiki/ISSN_(identifier)) 0040-5175 (https://www.worldcat.org/issn/0040-5175) . S2CID (/wiki/S2CID_(identifier)) 135867866 (https://api.semanticscholar.org/CorpusID:135867866) . ^ (#cite_ref-15) "Virtual developmentof knitted and braidiedproducts and braiding machines with Texmind Suite" (https://techtextil-texprocess.messefrankfurt.com/content/dam/messefrankfurt-redaktion/techtextil/techtextil-texprocess/hightex-presentations/2/kyosev-texmind-atlanta-rev2.pdf) (PDF) . Techtextil Forum 2019 . 2019 . Retrieved 2023-01-19 . ^ (#cite_ref-16) Kyosev, Yordan (2020). Warp Knitted Fabrics Construction . Boca Raton, FL. ISBN (/wiki/ISBN_(identifier)) 978-1-4987-8017-9 . OCLC (/wiki/OCLC_(identifier)) 1111501128 (https://www.worldcat.org/oclc/1111501128) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) ^ (#cite_ref-17) Kiron, M.M.I. "Introduction of Warp Knitting | Principle of Warp Knitting | Properties of Warp Knitted Structures" (https://web.archive.org/web/20150516114300/http://textilelearner.blogspot.ca/2011/05/defination-and-properties-of-warp_8342.html) . Textile Learner . Archived from the original (http://textilelearner.blogspot.ca/2011/05/defination-and-properties-of-warp_8342.html) on 2015-05-16. ^ (#cite_ref-18) "WarpKnitting4u.com" (https://web.archive.org/web/20191202033823/http://www.warpknitting4u.com/) . WarpKnitting4u.com . 2011. Archived from the original (http://www.warpknitting4u.com/) on 2019-12-02. ^ (#cite_ref-19) Sumanasinghe RD, King MW (2003). "New Trends in Biotextiles-The Challenge of Tissue Engineering" (http://www.tx.ncsu.edu/jtatm/volume3issue2/Articles/Sumanasinghe/sumana_full_62_03.pdf) (PDF) . The Journal of Textile and Apparel, Technology and Management . Bibliography Cooper, B. (1983). Transformation of a Valley: The Derbyshire Derwent . Heinneman. ISBN (/wiki/ISBN_(identifier)) 0907758177 . Republished 1991 Cromford: Scarthin Books. Earnshaw, Pat (1986). Lace Machines and Machine Laces . Batsford. ISBN (/wiki/ISBN_(identifier)) 978-0713446845 . Farrell, Jeremy (2007). "Identifying Handmade and Machine Lace" (http://www.dressandtextilespecialists.org.uk/wp-content/uploads/2015/04/Lace-Booklet.pdf) (PDF) . DATS (Dress and Textile Specialists) in partnership with the V&A. Rosatto, Vittoria (1948). Leavers Lace:A Handbook of the American Leavers Lace Industry (PDF) . Providence, RI: American Lace Manufacturers Association . Retrieved 2016-12-08 . Shaeffer, Claire (1989). Claire Shaeffer's fabric sewing guide (Updated ed.). Radnor, Pa.: Chilton Book Co. (/wiki/Chilton_Book_Co.) ISBN (/wiki/ISBN_(identifier)) 978-0-8019-7802-9 . External links [ edit ] Wikimedia Commons has media related to Tricot (textile) (https://commons.wikimedia.org/wiki/Category:Tricot_(textile)) and Raschel lace (https://commons.wikimedia.org/wiki/Category:Raschel_lace) . v t e Knitting (/wiki/Knitting) Tools and materials Knitting needle (/wiki/Knitting_needle) Knitting needle cap (/wiki/Knitting_needle_cap) Needle gauge (/wiki/Hook_gauge) List of yarns for crochet and knitting (/wiki/List_of_yarns_for_crochet_and_knitting) Row counter (/wiki/Row_counter_(hand_knitting)) Stitch holder (/wiki/Stitch_holder) Yarn (/wiki/Yarn) styles Bouclé (/wiki/Boucl%C3%A9) Eyelash (/wiki/Eyelash_yarn) Lopi (/wiki/Lopi_(knitting)) Novelty (/wiki/Novelty_yarns) Variegated (/wiki/Variegated_yarn) Yarn brands Coats Group (/wiki/Coats_Group) Eisaku Noro Company (/wiki/Eisaku_Noro_Company) Kraemer Yarns (/wiki/Kraemer_Textiles_Inc.) 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(/wiki/Needle_lace) Filet lace (/wiki/Filet_lace) Punto in Aria (/wiki/Punto_in_Aria) Point de Venise (/wiki/Point_de_Venise) Point de France (/wiki/Point_de_France) Alençon (/wiki/Alen%C3%A7on_lace) Aemilia Ars (/w/index.php?title=Aemilia_Ars&action=edit&redlink=1) Argentan (/wiki/Argentan_lace) Argentella (/wiki/Argentella) Armenian (/wiki/Armenian_needlelace) Burano (https://it.wikipedia.org/wiki/Merletto%20di%20Burano) Halas lace (/wiki/Halas_lace) Hedebo embroidery (/wiki/Hedebo_embroidery) Hollie Point (/wiki/Hollie_Point) Nallıhan (/wiki/Nall%C4%B1han_silk_needlelace) Point de Gaze (/wiki/Point_de_Gaze) Kenmare Lace (/wiki/Kenmare_lace) Ñandutí (/wiki/%C3%91andut%C3%AD) Oya (/wiki/Oya_(lace)) Pag (/wiki/Pag_lace) Puncetto Valsesiano (/w/index.php?title=Puncetto_Valsesiano&action=edit&redlink=1) Tenerife (/wiki/Tenerife_lace) Youghal (/wiki/Youghal_lace) Embroidery (/wiki/Embroidery) Buratto (/wiki/Buratto) Filet lace (/wiki/Filet_lace) Reticella (/wiki/Reticella) Limerick (/wiki/Limerick_lace) Needlerun net (/wiki/Needlerun_net) Tambour (/wiki/Tambour_lace) Cutwork (/wiki/Cutwork) Broderie anglaise (/wiki/Broderie_anglaise) Carrickmacross (/wiki/Carrickmacross_lace) Lefkara lace (/wiki/Lefkara_lace) Saba lace (/wiki/Saba_lace) Bobbin lace (/wiki/Bobbin_lace) Mesh grounds (/wiki/Mesh_grounded_bobbin_lace) Torchon (/wiki/Torchon_lace) Freehand (/wiki/Freehand_lace) Arras (/wiki/Arras_lace) Bayeux (/wiki/Bayeux_lace) Beeralu (/w/index.php?title=Beeralu&action=edit&redlink=1) Blonde (/wiki/Blonde_lace) Bucks point (/wiki/Bucks_point_lace) Chantilly (/wiki/Chantilly_lace) Chefoo (/w/index.php?title=Chefoo_lace&action=edit&redlink=1) Cogne (/wiki/Cogne_lace) Tønder (/wiki/T%C3%B8nder_lace) Beveren (/wiki/Beveren_lace) Lille (/wiki/Lille_lace) Binche (/wiki/Binche_lace) Flanders (/wiki/Flanders_lace) Paris (/wiki/Paris_lace) Valenciennes (/wiki/Valenciennes_lace) Antwerp (/wiki/Antwerp_lace) Mechlin (/wiki/Mechlin_lace) Ipswich (/wiki/Ipswich_lace) 's 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(/w/index.php?title=Mezzopunto&action=edit&redlink=1) Princess (/wiki/Princess_lace) Renaissance (/wiki/Renaissance_lace) Battenberg (/wiki/Battenberg_lace) Romanian point (/wiki/Romanian_point_lace) Branscombe (/wiki/Branscombe_lace) Crocheted lace (/wiki/Crocheted_lace) Broomstick lace (/wiki/Broomstick_lace) Irish crochet (/wiki/Irish_lace) Hairpin (/wiki/Hairpin_lace) Filet crochet (/wiki/Filet_crochet) Orvieto lace (/w/index.php?title=Orvieto_lace&action=edit&redlink=1) Machine (/wiki/Lace_machine) -made lace Bobbinet (/wiki/Bobbinet) Leavers (/wiki/Leavers_machine) Pusher (/wiki/Pusher_machine) Barmen (/wiki/Barmen_lace_machine) Curtain Machine (/wiki/Nottingham_lace_curtain_machine) Chemical (/wiki/Chemical_lace) Raschel Stocking Frame (/wiki/Stocking_frame) Warp Knit Other handmade laces Metal laces (/wiki/Metal_lace) Lace knitting (/wiki/Lace_knitting) Macramé (/wiki/Macram%C3%A9) Tatting (/wiki/Tatting) Punto a groppo (/wiki/Punto_a_groppo) Sprang (/wiki/Sprang) Liturgical 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Malay traditional clothing Baju Melayu Tani Yutaka (/wiki/Tani_Yutaka) , the Malayan (/wiki/British_Malaya) -Japanese secret agent, photographed in Baju Melayu Type Traditional dress Place of origin Malaysia (/wiki/Malaysia) Manufacturer Malays (/wiki/Malays_(ethnic_group)) Baju Melayu ( Jawi (/wiki/Jawi_script) : باجو ملايو ) is a traditional Malay (/wiki/Malays_(ethnic_group)) costume for men, originated from the court of Malacca Sultanate (/wiki/Malacca_Sultanate) and is traditionally worn by men in Brunei (/wiki/Brunei) , Malaysia (/wiki/Malaysia) , Singapore (/wiki/Singapore) , parts of Indonesia (/wiki/Indonesia) (especially Sumatra (/wiki/Sumatra) and Kalimantan (/wiki/Kalimantan) ), southern Philippines (/wiki/Philippines) , and southern Thailand (/wiki/Thailand) . [1] (#cite_note-1) [2] (#cite_note-FOOTNOTEKoh-2) In its formal form, Baju Melayu is the national dress (/wiki/National_dress) of Malaysia (/wiki/Malaysia) [3] (#cite_note-FOOTNOTECondra2013465-3) and Brunei (/wiki/Brunei) , [4] (#cite_note-FOOTNOTEChavalitPhromsuthirak200010-4) typically worn during official events and functions. A basic combination of Baju Melayu attire comes in two main parts. The first being the baju (long-sleeved shirt) itself which has either raised stiff collar known as the cekak musang collar (literally fox's leash) or the round neckline with a short slit opening down the front, known as the teluk belanga collar. The second part is the trousers called celana or seluar . [5] (#cite_note-5) The two parts are made out of the same type of fabric which is usually cotton, or a mixture of polyester and cotton. In a formal attire, a skirt-type adornment is added, which is either the samping (/wiki/Samping) , made out of songket (/wiki/Songket) , tenun (/wiki/Tenun_Pahang_Diraja) cloth or the sarong (/wiki/Sarong) , made out of cotton or a polyester mix. Jet-black or dark-colored headgear called the songkok (/wiki/Songkok) to be worn to complete the formal attire. For a ceremonial attire or known in Malay as sepersalinan , commonly worn during cultural functions, the songkok (/wiki/Songkok) headgear typically replaced with the tengkolok (/wiki/Tengkolok) . [6] (#cite_note-FOOTNOTECondra2013468-6) The normal baju can sometimes be substituted with a combination of tekua [7] (#cite_note-FOOTNOTEAbdullah_Abdul_Kadir200570-7) (a type of short sleeves jacket). In a more elaborate dress, baju sikap or baju layang (a type of coat) [8] (#cite_note-FOOTNOTESiti_Zainon_Ismail200676-8) [9] (#cite_note-FOOTNOTEChavalitPhromsuthirak2000116–120-9) and pending (ornamental belt buckle) are worn. [10] (#cite_note-FOOTNOTESiti_Zainon_Ismail2006227-10) Optional accessories include a kris tucked into the samping folded at the waist, [11] (#cite_note-FOOTNOTESiti_Zainon_Ismail200685-11) and a traditional capal (sandal). [12] (#cite_note-FOOTNOTEMohd_Said_Bin_Haji_Sulaiman20088-12) Name [ edit ] The term 'Baju Melayu' literally means the 'Malay shirt (/wiki/Shirt) '. The word baju ( Jawi (/wiki/Jawi_script) : باجو ) is derived from Persian (/wiki/Persian_language) : بازو , lit. (/wiki/Literal_translation) 'upper arm', [13] (#cite_note-FOOTNOTESiti_Zainon_Ismail2006167-13) while Melayu ( Jawi (/wiki/Jawi_script) : ملايو ) is the endonym (/wiki/Endonym) for Malay peoples (/wiki/Malay_people) . The earliest literary reference to the term 'Baju Melayu' was from the Malay Annals (/wiki/Malay_Annals) , written sometime between 15th to 16th centuries. [14] (#cite_note-FOOTNOTELeyden1821271-14) [15] (#cite_note-FOOTNOTEAbdul_Samad_Ahmad1979207-15) However, its early usage in the literature might possibly in generic form, referring to the general Malay clothing, rather than a specific type of outfit. [16] (#cite_note-FOOTNOTESiti_Zainon_Ismail2006137-16) [17] (#cite_note-FOOTNOTESiti_Zainon_Ismail2006168-17) An alternative term, the 'Baju Kurung' ( Jawi (/wiki/Jawi_script) : باجو كوروڠ ) literally 'concealed' or 'enclosed dress', which was also a generic one, is thought to be introduced later, supposedly coined for the design created by Temenggung Tun Hasan during the reign of Sultan Mahmud Shah, that manage to conceal most of body parts. [18] (#cite_note-FOOTNOTETeh2019-18) [19] (#cite_note-FOOTNOTEChavalitPhromsuthirak200090-19) It was this term, that embodies the philosophical foundation for the dress of both men and women, that became popular for the next hundreds of years after Melaka Sultanate (/wiki/Melaka_Sultanate) . [20] (#cite_note-20) However, in modern Malaysia, the men's outfit was renamed 'Baju Melayu' to distinguish it from the women's outfit which remain to be known as Baju Kurung (/wiki/Baju_Kurung) . Nevertheless, the generic use of the term 'Baju Kurung' survived in Singapore (/wiki/Singapore) and it continued to refer to the traditional outfits for both sexes. [2] (#cite_note-FOOTNOTEKoh-2) History [ edit ] Men and women have their hair in a knot, and are clad with a single piece of cloth. Girls of rich families wear four or five golden circles on their foreheads, and the daughters of the common people use strings of colored glass beads instead. — Xingcha Shenglan (/wiki/Xingcha_Shenglan) . [21] (#cite_note-FOOTNOTELinehan19737-21) The early Malay clothing style, like most of the tropical world, was simple and using a single piece of cloth for both sexes. This was the description by Fei Xin (/wiki/Fei_Xin) , a Chinese Muslim (/wiki/Chinese_Muslim) and an Arabic scholar who wrote an account about pre-Islamic Pahang (/wiki/Old_Pahang_Kingdom) in the Xingcha Shenglan (/wiki/Xingcha_Shenglan) . [21] (#cite_note-FOOTNOTELinehan19737-21) The rise of Melaka Sultanate in the 15th century brought about significant changes to the Malay clothing style. As an important trading port, Melaka emerged not only as a commercial, but also a cultural and religious centre. The strong infusion of Islamic values as well as the extensive influence brought by multi-ethnic trading communities, encouraged the development of different aspects of Malay culture; language, literature, arts and cultures. [18] (#cite_note-FOOTNOTETeh2019-18) The strong Islamic influence had transformed the early Malay clothing styles in accordance to Islamic values. [18] (#cite_note-FOOTNOTETeh2019-18) [22] (#cite_note-FOOTNOTESiti_Zainon_Ismail2006104-22) The first literary reference to 'Baju Melayu' was from the Malay Annals (/wiki/Malay_Annals) written during the heyday of Melaka Sultanate. [14] (#cite_note-FOOTNOTELeyden1821271-14) [15] (#cite_note-FOOTNOTEAbdul_Samad_Ahmad1979207-15) The Malay Annals (/wiki/Malay_Annals) attributes the introduction of court protocol and dress codes and other rules to Sultan Muhammad Shah (/wiki/Muhammad_Shah_of_Malacca) (1424-1444). The legal code of the sultanate, Undang-Undang Melaka (/wiki/Undang-Undang_Melaka) is also thought first promulgated in this period. During Muhammad Shah's reign, it was decreed that the manner of Malay dress must be distinct from those of the foreign lands, be it from atas angin (Arab, India and Europe) or bawah angin (China and Khmer). [23] (#cite_note-FOOTNOTESiti_Zainon_Ismail2006107-23) It was believed that from this era, the early form of a distinctive Malay dress, consisting of the basic kain (cloth), baju (shirt), and destar (/wiki/Tengkolok) (headdress), began to take shape in Melakan society. [24] (#cite_note-FOOTNOTESiti_Zainon_Ismail200675-24) [25] (#cite_note-FOOTNOTEAbdul_Samad_Ahmad197974-25) [26] (#cite_note-FOOTNOTELeyden182194-26) In later years of the sultanate, a proper ceremonial dress of a Malay men, called lima persalinan ('five clothing parts') which was described in the Hikayat Hang Tuah (/wiki/Hikayat_Hang_Tuah) , is said to appear during the reign of Sultan Mansur Shah (/wiki/Mansur_Shah_of_Malacca) (1459–1477). The five basic parts are garment ( baju ), bottom ( seluar ), headgear ( destar ), sash ( sebai ), waist (kain samping). [27] (#cite_note-FOOTNOTESiti_Zainon_Ismail200680-27) Further improvisations took place during the reign of Sultan Mahmud Shah (/wiki/Mahmud_Shah_of_Malacca) (1488-1511), when Temenggung Tun Hassan introduced an expanded version of the shirt with a more loose-fitting shape and lengthened sleeves to wrist level. It was said that the term Baju Kurung ('concealed dress') was then coined for the creation as it successfully concealed most of body parts. [18] (#cite_note-FOOTNOTETeh2019-18) The clothing style along with other Malay cultural values were then spread through Malayisation (/wiki/Malayisation) of the region, by many succeeding Malay sultanates. The Melakan style of dress remains in Malay societies for the next hundreds of years before it was brought again to the fore during the reign of Abu Bakar of Johor (/wiki/Abu_Bakar_of_Johor) (1862-1895). [18] (#cite_note-FOOTNOTETeh2019-18) Numerous reforms were undertaken during his rule, including the modernisation of Malay clothing style. A more elegant style of Baju Kurung was introduced with a shortened hem of the shirt to the level of the back, three pockets and a round neckline with a short slit opening down the front. The style was named after the former capital of Johor (/wiki/Johor) , Telok Blangah (/wiki/Telok_Blangah) , and was introduced by Dato' Jaafar Muhammad (/wiki/Jaafar_Muhammad) , who would become the first Menteri Besar of Johor (/wiki/Menteri_Besar_of_Johor) . [28] (#cite_note-FOOTNOTESiti_Zainon_Ismail2006201-28) It was said that the new style was invented to differentiate Abu Bakar's followers clothing style with that old Melakan clothing style worn by the descendants of Sultan Hussin (/wiki/Hussein_Shah_of_Johor) and their followers that resided in Istana Kampong Glam (/wiki/Istana_Kampong_Glam) . [29] (#cite_note-FOOTNOTESiti_Zainon_Ismail2006136-29) Another popular style called Cekak Musang was also said to had been introduced during the reign of Abu Bakar by a resident of Teluk Belanga called Haji Othman or Tuan Busu or Wan Busu. Initially called Baju Wan , it has the same cut with Teluk Belanga style but with a high collar split and tighten with 5 buttons. [30] (#cite_note-FOOTNOTEMohd_Said_Bin_Haji_Sulaiman200819-30) This style went on to become the most popular style until modern times, while the Teluk Belanga style remains a unique clothing style to the state of Johor. [31] (#cite_note-FOOTNOTERoyal_Johor_Council-31) Styles [ edit ] A group of men in the Cekak Musang type, worn together with the songket (/wiki/Songket) (far left) and kain samping In Teluk Belanga style, the kain samping is worn below the baju . The traditional Baju Melayu commonly features a form of baju (shirt) with four pesak (side panels) and two kekek (small gussets) under the armholes so that they fit and hang well., [32] (#cite_note-FOOTNOTESelvanayagam199114-32) although the more contemporary adaptations tend to omit these features in their design. The baju is traditionally worn by men with trousers called the seluar . The seluar are traditionally wide at the top, fastened with a running string called tali, and closer at the legs where it extends to below the knees. The styles of seluar include the seluar Aceh , seluar gadah which reaches to the ankles and seluar pendek which terminates at about the middle of the thighs. The seluar panjang are long and are sometimes buttoned at the feet. [33] (#cite_note-FOOTNOTESiti_Zainon_Ismail2006194-33) The different styles of Baju Melayu can be generally distinguished in the neck opening design of the baju , as well as the wearing styles and combinations, depending on status and regions. But the most common syles of Baju Melayu are as follows: Teluk Belanga [ edit ] This style is named after Telok Blangah (/wiki/Telok_Blangah) in Singapore (/wiki/Singapore) , where the administrative capital of Johor (/wiki/Johor) was located under the rule of Temenggong Daeng Ibrahim (/wiki/Temenggong_Daeng_Ibrahim) . [28] (#cite_note-FOOTNOTESiti_Zainon_Ismail2006201-28) His son Abu Bakar (/wiki/Abu_Bakar_of_Johor) who succeeded in 1862, initiated various reforms during his administration including the introduction of the new style of Malay dress. In 1866, following the shift of the capital to Tanjung Puteri (/wiki/Johor_Bahru) (later known as Johor Bahru), in commemorating the event, the new style of Baju Melayu was named after the old capital. [29] (#cite_note-FOOTNOTESiti_Zainon_Ismail2006136-29) Among modifications done to included a shortened hem of the shirt to the level of the back and three front pockets. The most striking feature of this style is that the shirt's neck opening is hemmed with stiff stitching called tulang belut (literally eel's spine) and ends with a small loop at the top of one side to fit a singular button known as kancing . A type of button, set in a cluster of diamonds is called kunang-kunang sekebun , while the golden button is called garam sebuku . [32] (#cite_note-FOOTNOTESelvanayagam199114-32) The shirt is worn together with a samping (/wiki/Samping) or sarong (/wiki/Sarong) which either wrapped below the shirt ('dagang dalam') or above the shirt ('dagang luar'). [34] (#cite_note-FOOTNOTESiti_Zainon_Ismail2006139-34) In the past, only members of the royal family and aristocrats were allowed to wear the samping in dagang luar style. [31] (#cite_note-FOOTNOTERoyal_Johor_Council-31) Cekak Musang [ edit ] The style literally means the 'fox's leash', a name used to describe the design of its collar. It was also introduced during the reign of Sultan Abu Bakar, by a resident of Telok Blangah (/wiki/Telok_Blangah) called Haji Othman or Tuan Busu or Wan Busu. Its original name was Baju Wan and comes with the same cut with Teluk Belanga, but with a raised collar. [30] (#cite_note-FOOTNOTEMohd_Said_Bin_Haji_Sulaiman200819-30) The placket (/wiki/Placket) of the baju will seem to form a third of the baju from the top when it is worn with the kain samping or kain sarung . [35] (#cite_note-FOOTNOTESelvanayagam199112-35) However, the hemline of the baju actually runs to the middle of the lap. The placket typically has three to five buttonholes and is fastened together by dress studs called kancing or sitat which are not unlike those used in Western-style formal dress shirts (/wiki/Dress_shirt) . The studs usually have screw-on backs and can be made from a variety of materials including gold, silver, and precious or semi-precious stones. The studs may also be connected with a light metal chain which will be concealed behind the shirt when the placket is fastened. Contrary to Teluk Belanga style, the samping in this style is typically worn above the baju, in a style known as dagang dalam . [36] (#cite_note-FOOTNOTESelvanayagam1991164-36) This style of Baju Melayu is considered the most common throughout the region and has been adopted as the formal dress in Malaysia and Brunei. In other parts of Southeast Asia, a type of dress identical to the Cekak Musang style is also commonly known as Teluk Belanga or its other spelling variants; taruk balanga ( Maranao (/wiki/Maranao_people) - Tausūg (/wiki/Taus%C5%ABg_people) ) and taluak balango ( Minangkabau (/wiki/Minangkabau_people) ). [37] (#cite_note-FOOTNOTESiti_Zainon_Ismail200616-37) [38] (#cite_note-FOOTNOTESiti_Zainon_Ismail2006129-38) Kolar Tunku [ edit ] The third but less known style is Kolar Tunku. It was originally made for the first Prime Minister of Malaysia (/wiki/Prime_Minister_of_Malaysia) , Tunku Abdul Rahman (/wiki/Tunku_Abdul_Rahman) and has the same cut as Cekak Musang and Teluk Belanga but different collar's design. It took inspiration from Mandarin collar (/wiki/Mandarin_collar) that comes with rounded collar's corner. Unlike Cekak Musang style, it has no button at the collar, leaving only three buttons on the placket. [39] (#cite_note-FOOTNOTEOmar_Ali2023-39) Adaptations [ edit ] The Baju Melayu is also the source of inspiration for a number of uniforms worn by several uniformed services and martial arts organizations. The official full dress uniform (/wiki/Full_dress_uniform) or baju istiadat ('ceremonial uniform'), or uniform number 1 for the enlisted rank (/wiki/Enlisted_rank) personnel of the Malaysian Armed Forces (/wiki/Malaysian_Armed_Forces) , is inspired from the wearing style of Baju Melayu, by having white tunic coats and trousers, worn together with dark green songkok and green and gold brocade samping (/wiki/Samping) . [40] (#cite_note-FOOTNOTEZaharah_Othman2022-40) [41] (#cite_note-FOOTNOTEMokhtar_Mohd_Tohar2010255-41) This tradition dates back to the establishment of the Royal Malay Regiment (/wiki/Royal_Malay_Regiment) in 1932. Its original regimental service dress uniform (/wiki/Service_dress_uniform) , consisted of a green velvet songkok, spotless white top and trousers as well as a green and red silk samping. [42] (#cite_note-FOOTNOTETeh2022-42) In modern times, the Central Band of the Royal Malay Regiment (/wiki/Central_Band_of_the_Royal_Malay_Regiment) that commonly perform in the ceremonial dress, became the most senior and the official central band of the Malaysian Army (/wiki/Malaysian_Army) that is dedicated to providing ceremonial honours and music to the Yang di-Pertuan Agong (/wiki/Yang_di-Pertuan_Agong) , the Prime Minister (/wiki/Prime_Minister_of_Malaysia) , the Chief Justice (/wiki/Chief_Justice_of_Malaysia) , the President of the Senate (/wiki/President_of_the_Dewan_Negara) , and the Speaker of the House of Representatives (/wiki/Speaker_of_the_Dewan_Rakyat) . In the Police force, the design of the ceremonial uniform for the non-gazetted officers of the Royal Malaysian Police (/wiki/Royal_Malaysian_Police) is identical to that of armed forces, but comes with blue and black brocade samping. [41] (#cite_note-FOOTNOTEMokhtar_Mohd_Tohar2010255-41) An almost similar design can also be found adopted in the full-dress uniform of the Royal Brunei Armed Forces (/wiki/Royal_Brunei_Armed_Forces) with only differences are in colour variants. In traditional Silat (/wiki/Silat_Melayu) trainings, the uniform is commonly consist of a baggy black trousers and a black long sleeves baju melayu. Some schools require the practitioners to wear bengkung (belts) during training, with different colours signifying different rank, while some silat schools replace the bengkung with a modern buckled belt. Headdress is optional but donning a black bandana (/wiki/Bandana) is popular. [43] (#cite_note-FOOTNOTEFarrer2009167-43) A sarong (/wiki/Sarong) can also be worn along with a roll of cloth which could be used as a bag, a blanket or a weapon [44] (#cite_note-FOOTNOTEFarrer2009160-44) Guard of honour (/wiki/Guard_of_honour) of the Royal Brunei Armed Forces (/wiki/Royal_Brunei_Armed_Forces) in ceremonial uniforms. The Central Band of the Royal Malay Regiment (/wiki/Central_Band_of_the_Royal_Malay_Regiment) of the Malaysian Armed Forces (/wiki/Malaysian_Armed_Forces) in ceremonial uniforms The marching band (/wiki/Marching_band) of the Royal Malaysian Police (/wiki/Royal_Malaysian_Police) parading in ceremonial uniforms Occasions for usage [ edit ] A Sumatran (/wiki/Sumatra) variant type of Baju Melayu worn by royal princes from Deli (/wiki/Sultanate_of_Deli) , Langkat (/wiki/Sultanate_of_Langkat) and Serdang (/wiki/Sultanate_of_Serdang) Kingdom of North Sumatra (/wiki/North_Sumatra) , Indonesia The Baju Melayu is commonly worn by Malay men in Southeast Asia (/wiki/Southeast_Asia) during major Islamic festival celebrations like Eid ul-Fitr (/wiki/Eid_ul-Fitr) , Eid al-Adha (/wiki/Eid_al-Adha) and Islamic New Year (/wiki/Islamic_New_Year) , particularly in countries with significant Malay populations; Brunei (/wiki/Brunei) , Indonesia (/wiki/Indonesia) , Malaysia (/wiki/Malaysia) , Singapore (/wiki/Singapore) , Thailand (/wiki/Thailand) , and Philippines (/wiki/Philippines) . [2] (#cite_note-FOOTNOTEKoh-2) In Brunei and Malaysia where Malays are the dominant ethnicity, Baju Melayu is the national dress for men. [3] (#cite_note-FOOTNOTECondra2013465-3) [4] (#cite_note-FOOTNOTEChavalitPhromsuthirak200010-4) Day to day usage is maintained in general religious occasions, like visiting mosques or for a religious gathering, or in other social functions like weddings. A full Cekak Musang attire in black, worn together with a black songkok (/wiki/Songkok) and samping (/wiki/Samping) embroidered with gold thread, is considered a formal dress. [45] (#cite_note-FOOTNOTEMokhtar_Mohd_Tohar2010250–254-45) It is the national attire required by protocol during official national events, especially highly formal ones like the official celebration of the Yang di-Pertuan Agong (/wiki/Yang_di-Pertuan_Agong) or Sultan of Brunei (/wiki/Sultan_of_Brunei) 's birthday, the sworn in of a Prime Minister and cabinet members, and the appointment of ambassadors. [45] (#cite_note-FOOTNOTEMokhtar_Mohd_Tohar2010250–254-45) Malaysian ambassadors presenting their credentials to foreign heads of state are also required to wear the black Baju Melayu. [46] (#cite_note-FOOTNOTEThe_Borneo_Post2019-46) The white Baju Melayu is worn by the royalties when mourning the passing away of a member of the royal family. In civil service, Baju Melayu is an alternative formal attire to be worn on Fridays or in any highly ceremonial events. [47] (#cite_note-FOOTNOTEMokhtar_Mohd_Tohar2010198-47) Some private companies also allowed their male workers to wear Baju Melayu on Fridays, whereas others have it as a policy. Baju Melayu is also adopted as the formal uniform for Fridays in both primary and secondary public schools. In Indonesia, both the Baju Melayu in both collar styles (and other Malay clothes such as Baju Kurung ) is popular in provinces with large Malay populations such as Riau (/wiki/Riau) , the Riau Islands (/wiki/Riau_Islands) , West Kalimantan (/wiki/West_Kalimantan) and a few other provinces mainly in Sumatera (/wiki/Sumatera) and other places where the presence of ethnic Malays are dominant. Recently, the Baju Melayu has become more popular and is not only worn at traditional events, but also on informal occasions. Government officials in Riau (/wiki/Riau) and other places wear them proudly during official events (even national events). The Betawi (/wiki/Betawi_people) version of Baju Melayu is called Baju Demang , because Betawi are also part of the big Malay (/wiki/Malays_(ethnic_group)) tradition, its customs and attire is similar to the Malay. Other local indigenous Malay ethnics in Indonesia also have their own style of Baju Melayu probably which have the same similarities such as the usage of the Songkok (/wiki/Songkok) as the headdress for men and kain samping . See also [ edit ] Clothing portal (/wiki/Portal:Clothing) Fashion portal (/wiki/Portal:Fashion) Malaysia portal (/wiki/Portal:Malaysia) Indonesia portal (/wiki/Portal:Indonesia) Malaysian cultural outfits (/wiki/Malaysian_cultural_outfits) Culture of Malaysia (/wiki/Culture_of_Malaysia) National costume of Indonesia (/wiki/National_costume_of_Indonesia) Culture of Indonesia (/wiki/Culture_of_Indonesia) Notes [ edit ] ^ (#cite_ref-1) "Pakaian Tradisional - Baju Kurung" (https://sultansyarifkasim2-airport.co.id/pariwisata_detail/475/pakaian-tradisional-baju-kurung) . Archived (https://web.archive.org/web/20211130143733/https://sultansyarifkasim2-airport.co.id/pariwisata_detail/475/pakaian-tradisional-baju-kurung) from the original on 30 November 2021. ^ Jump up to: a b c Koh (#CITEREFKoh) . ^ Jump up to: a b Condra 2013 (#CITEREFCondra2013) , p. 465. ^ Jump up to: a b Chavalit & Phromsuthirak 2000 (#CITEREFChavalitPhromsuthirak2000) , p. 10. ^ (#cite_ref-5) Jonathan H. X. Lee, Kathleen M. Nadeau (2011) Encyclopedia of Asian American Folklore and Folklife, Volume 1 [1] (https://books.google.com/books?id=9BrfLWdeISoC&dq=malay+baju+silwar&pg=PA772) ^ (#cite_ref-FOOTNOTECondra2013468_6-0) Condra 2013 (#CITEREFCondra2013) , p. 468. ^ (#cite_ref-FOOTNOTEAbdullah_Abdul_Kadir200570_7-0) Abdullah Abdul Kadir 2005 (#CITEREFAbdullah_Abdul_Kadir2005) , p. 70. ^ (#cite_ref-FOOTNOTESiti_Zainon_Ismail200676_8-0) Siti Zainon Ismail 2006 (#CITEREFSiti_Zainon_Ismail2006) , p. 76. ^ (#cite_ref-FOOTNOTEChavalitPhromsuthirak2000116–120_9-0) Chavalit & Phromsuthirak 2000 (#CITEREFChavalitPhromsuthirak2000) , pp. 116–120. ^ (#cite_ref-FOOTNOTESiti_Zainon_Ismail2006227_10-0) Siti Zainon Ismail 2006 (#CITEREFSiti_Zainon_Ismail2006) , p. 227. ^ (#cite_ref-FOOTNOTESiti_Zainon_Ismail200685_11-0) Siti Zainon Ismail 2006 (#CITEREFSiti_Zainon_Ismail2006) , p. 85. ^ (#cite_ref-FOOTNOTEMohd_Said_Bin_Haji_Sulaiman20088_12-0) Mohd Said Bin Haji Sulaiman 2008 (#CITEREFMohd_Said_Bin_Haji_Sulaiman2008) , p. 8. ^ (#cite_ref-FOOTNOTESiti_Zainon_Ismail2006167_13-0) Siti Zainon Ismail 2006 (#CITEREFSiti_Zainon_Ismail2006) , p. 167. ^ Jump up to: a b Leyden 1821 (#CITEREFLeyden1821) , p. 271. ^ Jump up to: a b Abdul Samad Ahmad 1979 (#CITEREFAbdul_Samad_Ahmad1979) , p. 207. ^ (#cite_ref-FOOTNOTESiti_Zainon_Ismail2006137_16-0) Siti Zainon Ismail 2006 (#CITEREFSiti_Zainon_Ismail2006) , p. 137. ^ (#cite_ref-FOOTNOTESiti_Zainon_Ismail2006168_17-0) Siti Zainon Ismail 2006 (#CITEREFSiti_Zainon_Ismail2006) , p. 168. ^ Jump up to: a b c d e Teh 2019 (#CITEREFTeh2019) . ^ (#cite_ref-FOOTNOTEChavalitPhromsuthirak200090_19-0) Chavalit & Phromsuthirak 2000 (#CITEREFChavalitPhromsuthirak2000) , p. 90. ^ (#cite_ref-20) "Asal busana popular Melayu - Rencana - Utusan Online" (https://web.archive.org/web/20190517144230/https://www.utusan.com.my/rencana/asal-busana-popular-melayu-1.116532) . Archived from the original (https://www.utusan.com.my/rencana/asal-busana-popular-melayu-1.116532) on 17 May 2019 . Retrieved 17 May 2019 . ^ Jump up to: a b Linehan 1973 (#CITEREFLinehan1973) , p. 7. ^ (#cite_ref-FOOTNOTESiti_Zainon_Ismail2006104_22-0) Siti Zainon Ismail 2006 (#CITEREFSiti_Zainon_Ismail2006) , p. 104. ^ (#cite_ref-FOOTNOTESiti_Zainon_Ismail2006107_23-0) Siti Zainon Ismail 2006 (#CITEREFSiti_Zainon_Ismail2006) , p. 107. ^ (#cite_ref-FOOTNOTESiti_Zainon_Ismail200675_24-0) Siti Zainon Ismail 2006 (#CITEREFSiti_Zainon_Ismail2006) , p. 75. ^ (#cite_ref-FOOTNOTEAbdul_Samad_Ahmad197974_25-0) Abdul Samad Ahmad 1979 (#CITEREFAbdul_Samad_Ahmad1979) , p. 74. ^ (#cite_ref-FOOTNOTELeyden182194_26-0) Leyden 1821 (#CITEREFLeyden1821) , p. 94. ^ (#cite_ref-FOOTNOTESiti_Zainon_Ismail200680_27-0) Siti Zainon Ismail 2006 (#CITEREFSiti_Zainon_Ismail2006) , p. 80. ^ Jump up to: a b Siti Zainon Ismail 2006 (#CITEREFSiti_Zainon_Ismail2006) , p. 201. ^ Jump up to: a b Siti Zainon Ismail 2006 (#CITEREFSiti_Zainon_Ismail2006) , p. 136. ^ Jump up to: a b Mohd Said Bin Haji Sulaiman 2008 (#CITEREFMohd_Said_Bin_Haji_Sulaiman2008) , p. 19. ^ Jump up to: a b Royal Johor Council (#CITEREFRoyal_Johor_Council) . ^ Jump up to: a b Selvanayagam 1991 (#CITEREFSelvanayagam1991) , p. 14. ^ (#cite_ref-FOOTNOTESiti_Zainon_Ismail2006194_33-0) Siti Zainon Ismail 2006 (#CITEREFSiti_Zainon_Ismail2006) , p. 194. ^ (#cite_ref-FOOTNOTESiti_Zainon_Ismail2006139_34-0) Siti Zainon Ismail 2006 (#CITEREFSiti_Zainon_Ismail2006) , p. 139. ^ (#cite_ref-FOOTNOTESelvanayagam199112_35-0) Selvanayagam 1991 (#CITEREFSelvanayagam1991) , p. 12. ^ (#cite_ref-FOOTNOTESelvanayagam1991164_36-0) Selvanayagam 1991 (#CITEREFSelvanayagam1991) , p. 164. ^ (#cite_ref-FOOTNOTESiti_Zainon_Ismail200616_37-0) Siti Zainon Ismail 2006 (#CITEREFSiti_Zainon_Ismail2006) , p. 16. ^ (#cite_ref-FOOTNOTESiti_Zainon_Ismail2006129_38-0) Siti Zainon Ismail 2006 (#CITEREFSiti_Zainon_Ismail2006) , p. 129. ^ (#cite_ref-FOOTNOTEOmar_Ali2023_39-0) Omar Ali 2023 (#CITEREFOmar_Ali2023) . ^ (#cite_ref-FOOTNOTEZaharah_Othman2022_40-0) Zaharah Othman 2022 (#CITEREFZaharah_Othman2022) . ^ Jump up to: a b Mokhtar Mohd Tohar 2010 (#CITEREFMokhtar_Mohd_Tohar2010) , p. 255. ^ (#cite_ref-FOOTNOTETeh2022_42-0) Teh 2022 (#CITEREFTeh2022) . ^ (#cite_ref-FOOTNOTEFarrer2009167_43-0) Farrer 2009 (#CITEREFFarrer2009) , p. 167. ^ (#cite_ref-FOOTNOTEFarrer2009160_44-0) Farrer 2009 (#CITEREFFarrer2009) , p. 160. ^ Jump up to: a b Mokhtar Mohd Tohar 2010 (#CITEREFMokhtar_Mohd_Tohar2010) , pp. 250–254. ^ (#cite_ref-FOOTNOTEThe_Borneo_Post2019_46-0) The Borneo Post 2019 (#CITEREFThe_Borneo_Post2019) . ^ (#cite_ref-FOOTNOTEMokhtar_Mohd_Tohar2010198_47-0) Mokhtar Mohd Tohar 2010 (#CITEREFMokhtar_Mohd_Tohar2010) , p. 198. Bibliography [ edit ] Abdul Samad Ahmad (1979), Sulalatus Salatin , Dewan Bahasa dan Pustaka, ISBN (/wiki/ISBN_(identifier)) 978-983-62-5601-0 , archived from the original (http://mymanuskrip.fsktm.um.edu.my/Greenstone/cgi-bin/library.exe?a=d&c=publishe&cl=CL1&d=DSulatus%20Salatin:%20Sejarah%20Melayu) on 12 October 2013 Abdullah Abdul Kadir (/wiki/Abdullah_Abdul_Kadir) (2005). Amin Sweeney (ed.). Karya lengkap Abdullah bin Abdul Kadir Munsyi (in Malay). Jakarta : Kepustakaan Populer Gramedia [in collaboration with] Ecole francaise d'Extreme-Orient (/wiki/Ecole_francaise_d%27Extreme-Orient) . ISBN (/wiki/ISBN_(identifier)) 978-9799-101-16-7 . Chavalit, Khunying Maenmas; Phromsuthirak, Maneepin (2000). Costumes in ASEAN . Bangkok :The National ASEAN Committee on Culture and Information of Thailand. ISBN (/wiki/ISBN_(identifier)) 9747102838 . Condra, Jill (2013). Encyclopedia of National Dress Traditional Clothing around the World . Holtzbrinck. ISBN (/wiki/ISBN_(identifier)) 978-0313-376-36-8 . Farrer, Douglas S. (2009), Shadows of the Prophet: Martial Arts and Sufi Mysticism , Springer, ISBN (/wiki/ISBN_(identifier)) 978-1402093555 Koh, Jaime. "Baju kurong" (https://eresources.nlb.gov.sg/infopedia/articles/SIP_2013-09-06_173434.html?s=Women) . Archived (https://web.archive.org/web/20211130143730/https://eresources.nlb.gov.sg/infopedia/articles/SIP_2013-09-06_173434.html?s=Women) from the original on 30 November 2021. Leyden, John (/wiki/John_Leyden) (1821), Malay Annals (translated from the Malay language) , Longman, Hurst, Rees, Orme and Brown Linehan, William (1973), History of Pahang , Malaysian Branch Of The Royal Asiatic Society, Kuala Lumpur, ISBN (/wiki/ISBN_(identifier)) 978-0710-101-37-2 Logan, James Richardson (/wiki/James_Richardson_Logan) (1852), The Journal Of The Indian Archipelago And Eastern Asia , vol. 6, Kraus Reprint Mohd Said Bin Haji Sulaiman (2008). Pakai Patut Melayu (in Malay). Penerbit Universiti Kebangsaan Malaysia. ISBN (/wiki/ISBN_(identifier)) 978-9679-428-00-1 . Mokhtar Mohd Tohar (2010). Protocol and etiquette in managing and attending functions . Penerbit Universiti Putra Malaysia. ISBN (/wiki/ISBN_(identifier)) 978-9673-441-45-7 . Omar Ali (2023). "Our Story" (https://omarali.com.my/our-story/) . Archived (https://web.archive.org/web/20230402124629/https://omarali.com.my/our-story/) from the original on 2 April 2023. Royal Johor Council. "Pakaian Tradisional Johor" (https://royal.johor.my/pakaian-tradisional-johor/) . Retrieved 20 July 2023 . Selvanayagam, Grace Inpam (1991). Songket: Malaysia's Woven Treasure - Hardcover . Oxford University Press. ISBN (/wiki/ISBN_(identifier)) 978-0195-889-28-4 . Siti Zainon Ismail (2006). Pakaian Cara Melayu (in Malay). Penerbit Universiti Kebangsaan Malaysia. ISBN (/wiki/ISBN_(identifier)) 978-9679-427-40-0 . Teh, Alan (2019). "Enduring charm of the baju kurung" (https://www.nst.com.my/lifestyle/sunday-vibes/2019/08/513680/enduring-charm-baju-kurung) . New Straits Times (/wiki/New_Straits_Times) . Archived (https://web.archive.org/web/20220418184632/https://www.nst.com.my/lifestyle/sunday-vibes/2019/08/513680/enduring-charm-baju-kurung) from the original on 18 April 2022. Teh, Alan (2022). "Malaya's finest regiment" (https://www.nst.com.my/news/nation/2022/06/806772/malayas-finest-regiment) . New Straits Times (/wiki/New_Straits_Times) . Archived (https://web.archive.org/web/20220621164727/https://www.nst.com.my/news/nation/2022/06/806772/malayas-finest-regiment) from the original on 21 June 2022. The Borneo Post (2019). "Kuching-born M'sian ambassador presents his credentials to Pope Francis" (https://www.theborneopost.com/2019/06/11/kuching-born-msian-ambassador-presents-his-credentials-to-pope-francis/) . Archived (https://web.archive.org/web/20210614092037/https://www.theborneopost.com/2019/06/11/kuching-born-msian-ambassador-presents-his-credentials-to-pope-francis/) from the original on 14 June 2021. Zaharah Othman (2022). "Royal Malay Regiment takes pride of place at Queen's Jubilee" (https://www.nst.com.my/news/nation/2022/06/802887/royal-malay-regiment-takes-pride-place-queens-jubilee) . Archived (https://web.archive.org/web/20230418090553/https://www.nst.com.my/news/nation/2022/06/802887/royal-malay-regiment-takes-pride-place-queens-jubilee) from the original on 18 April 2023. v t e Folk costumes (/wiki/Folk_costume) Africa (/wiki/Clothing_in_Africa) Balgha (/wiki/Balgha) Boubou (/wiki/Agbada) Dashiki (/wiki/Dashiki) Djellaba (/wiki/Djellaba) Head tie (/wiki/Head_tie) Jellabiya (/wiki/Jellabiya) Kanzu (/wiki/Kanzu) Kente cloth (/wiki/Kente_cloth) Kufi (/wiki/Kufi) Litham (/wiki/Litham) Pareo (/wiki/Pareo) Senegalese kaftan (/wiki/Senegalese_kaftan) Tagelmust (/wiki/Tagelmust) Wrapper (/wiki/Wrapper_(clothing)) Asia Central Afghanistan (/wiki/Pashtun_clothing) Pakol (/wiki/Pakol) Chapan (/wiki/Chapan) Deel (/wiki/Deel_(clothing)) Malahai (/wiki/Malahai) Paranja (/wiki/Paranja) East China (/wiki/Chinese_clothing) Cheongsam (/wiki/Cheongsam) Hanfu (/wiki/Hanfu) Mao suit (/wiki/Mao_suit) Tangzhuang (/wiki/Tangzhuang) Japan (/wiki/Japanese_clothing) Hachimaki 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Fabric construction technique For the Dutch village, see Sprang (Netherlands) (/wiki/Sprang_(Netherlands)) . Reconstruction of a Saxon (/wiki/Anglo-Saxons) sprang hairnet Sprang is an ancient method of constructing fabric (/wiki/Fabric) that has a natural elasticity. Its appearance is similar to netting (/wiki/Net_(textile)) , but unlike netting, sprang is constructed entirely from warp (/wiki/Warp_(weaving)) threads. Archaeological (/wiki/Archaeology) evidence indicates that sprang predates knitting (/wiki/Knitting) ; the two needlework (/wiki/Needlework) forms bear a visible resemblance and serve similar functions but require different production techniques. Although examples of sprang have been unearthed from as early as the Bronze Age (/wiki/Bronze_Age) , sprang was almost entirely undocumented in written records until the late nineteenth century when archaeological finds generated interest in Europe (/wiki/Europe) . Museum examples of sprang had been misidentified as knitting or lace (/wiki/Lace) until discoveries of ancient examples prompted reexamination of newer pieces. Subsequently, sprang has been identified in a variety of cultures and traditions across several continents. Its practice as a folk art waned during the twentieth century and sprang traditions have disappeared in most locales. Knitting has largely supplanted sprang. Technique [ edit ] A demonstration of sprang manufacture using a loom. In principle, sprang may be regarded as a practical application of the fiber manipulation techniques used in the children's game known as cat's cradle (/wiki/Cat%27s_cradle) . [1] (#cite_note-prehistoric-1) Sprang is made by preparing a set of warp threads either on a rectangular frame or between a pair of beams. The craftsperson then generates a fabric by interlinking the warp threads. Unlike most textile production techniques that add new rows at the end of completed rows, sprang works upon the center of a group of fibers and the material grows inward from both ends with symmetrical top and bottom halves. The craftsperson must maintain control of the center area or the structure unravels: most sprang worked upon has too many fibers to keep in hand, so rods or sticks maintain the appropriate fiber positions. The fiber manipulation itself is done by the craftsperson's fingers. Decorative patterns may be generated by regular variations in the fiber crossings. As crossings accumulate the craftsperson beats the material flat with a stick. [2] (#cite_note-worldtex-2) [3] (#cite_note-folk-3) Work continues with the material growing from both edges toward the middle until the center band becomes too tight to continue work. [4] (#cite_note-cambridge-4) The completed fabric is either separated into two identical items or permanently secured at the middle to stabilize the contrary twists. [3] (#cite_note-folk-3) In traditions where two halves of sprang are not severed by cutting, this center seam is a telltale sign of sprang manufacture. [3] (#cite_note-folk-3) History and uses [ edit ] The English (/wiki/English_language) word sprang is of Swedish (/wiki/Swedish_language) origin. [3] (#cite_note-folk-3) [5] (#cite_note-needlework-5) It may have spread southward toward the Mediterranean (/wiki/Mediterranean) during the Iron Age (/wiki/Iron_Age) or possibly the late Bronze Age. [1] (#cite_note-prehistoric-1) The earliest surviving example of sprang is a hair net (/wiki/Hair_net) , c. 1400 B.C., that was recovered from a bog (/wiki/Bog) in Denmark (/wiki/Denmark) . [2] (#cite_note-worldtex-2) Most archaeological finds of sprang fabric come from the later classical era (/wiki/Classical_era) and the start of the Early Medieval period (/wiki/Early_Medieval_period) : locations include Norway (/wiki/Norway) (third to fifth centuries A.D.), Switzerland (/wiki/Switzerland) , Egypt (/wiki/Egypt) (possibly twenty-second dynasty (/wiki/Twenty-second_dynasty_of_Egypt) , also early Coptic (/wiki/Copt) ), and various Roman (/wiki/Ancient_Rome) sites. Use of sprang has also been conjectured from archaeological recoveries of ancient looms and from depictions in period artwork. [1] (#cite_note-prehistoric-1) Reconstruction of an Iron Age sprang hairnet from Denmark. Sprang is also an indigenous needlework technique among the peoples of South America (/wiki/South_America) , with the earliest known examples dating from before 900 A.D. among the Paracas culture (/wiki/Paracas_culture) and Nazca culture (/wiki/Nazca_culture) in present-day Peru (/wiki/Peru) . Sprang has also been noted in the Middle East (/wiki/Middle_East) , Central Asia (/wiki/Central_Asia) , the Indian Subcontinent (/wiki/Indian_Subcontinent) , and North America (/wiki/North_America) . Indigenous North American sprang includes woolen scarves by the Ho-Chunk (/wiki/Ho-Chunk) of Wisconsin (/wiki/Wisconsin) , and Hopi (/wiki/Hopi) wedding sashes. [5] (#cite_note-needlework-5) The natural elasticity of sprang makes it suitable for stockings, hair nets, sleeves, bags, scarves, and other purposes where pliant material is required. [1] (#cite_note-prehistoric-1) [5] (#cite_note-needlework-5) Most sprang needlework is utilitarian and hence was overlooked by scholars until late in its history, according to needlework historian Catherine Amoroso Leslie. [5] (#cite_note-needlework-5) In fact, it was not until the nineteenth century and the discovery of sprang at archaeological sites that it was recognized as a separate and distinct form of needlework. Many museum objects that were wrongly classified as knitting or lace have now been correctly identified as sprang. [5] (#cite_note-needlework-5) Following nearly simultaneous archaeological finds in Denmark and Egypt during the 1870s, an example of Coptic sprang brought to Austria (/wiki/Austria) in 1882 inspired the management of a factory near Vienna (/wiki/Vienna) to manufacture sprang hammocks (/wiki/Hammock) . The Paris (/wiki/Paris) World's Fair (/wiki/Exposition_Universelle_(1889)) of 1889 included an exhibit that duplicated ancient sprang, which led to renewed interest in the technique. Traditionally, cultures that practiced sprang had not produced written records of its manufacture or use. Shortly after the Paris exhibition, living traditions of sprang began to be documented. During the 1890s Ukrainian (/wiki/Ukraine) villagers were identified as practicing sprang in the manufacture of women's caps. Soon afterward, local sprang production for various garments was also documented in parts of Eastern Europe and in Denmark. Local European traditions generally endured until the mid-twentieth century. [5] (#cite_note-needlework-5) Sprang is, however, largely a historical technique that has been supplanted for most purposes by the later invention of knitting, whose earliest known example dates from the third century A.D. [1] (#cite_note-prehistoric-1) During the late eighteenth and early nineteenth centuries a military fashion of decorative sprang sashes in silk known as faja in Spain (/wiki/Spain) gained international popularity among generals as a distinguishing ornament of rank. The fashion spread to northern Europe and to North America. George Washington (/wiki/George_Washington) wore a sash made of red silk sprang around the year 1779. [5] (#cite_note-needlework-5) Contemporary sprang [ edit ] In a study of folk textiles of Anatolia (/wiki/Anatolia) , Greece (/wiki/Greece) , Linda Welters identifies the zonari as a long fringed belt constructed of sprang. The zonari is a rounded material of indeterminate length around 2 or 3 meters long and is wrapped multiple times when worn. From interviews conducted during the 1980s, Welters found that the technique was practiced by elderly women and regarded as a specialized skill which they worked on pairs of beams. Their vocabulary had no special term to correspond with sprang, so they referred to it with descriptive phrases such as knitting with sticks , plaiting (/wiki/Braid) , and weaving without passing through . The zonari are made from sheep's wool hand spun with a drop spindle (/wiki/Spindle_(textiles)) and dyed red, blue, or black depending on local custom. Zonari belts are a custom in much of Argolida (/wiki/Argolida) and Corinthia (/wiki/Corinthia) where they are traditional dowry (/wiki/Dowry) items worn by women from marriage onward and associated with fertility and donned on ritual occasions. Welters observes that these were mostly owned and worn by older women. [3] (#cite_note-folk-3) The sprang technique also survives as a traditional method for making hammocks in Guatemala (/wiki/Guatemala) , Mexico (/wiki/Mexico) , and Colombia (/wiki/Colombia) , and also in Colombia for making a shopping bag known as mechita . The work in these locations is generally performed on a backstrap loom (/wiki/Loom#Back_strap_loom) . Handmade Mesoamerican (/wiki/Mesoamerica) sprang hammocks continue to be produced for export to a variety of international markets. [2] (#cite_note-worldtex-2) [5] (#cite_note-needlework-5) Additionally, sprang remains in use for making silk (/wiki/Silk) trouser drawstrings for male and female attire in Punjab in India and Pakistan. There, village women still use the technique to create colourful check/stipped/zigzag designs that have been handed down the generations. They finish the ends of the work using a weaving technique to make a hard 2-inch 'harar' with bunched twisted threads and knots. These sprang drawstrings are also used for the 'ghugrai' (full long skirts worn traditionally by Punjabi women) – it has been fashionable at times to have the drawstring ends on show, hanging with the 'harar' having colourful pom-poms or jewellery added on. The sprang technique is also used to make the black 'doria' traditionally braided into women's hair; they also have a colourful 'harar' ending fixed at the end. These can be found on sale in Punjab even now. Hairnets, baby cradles, hanging baskets for fruit were also made. In attempts to retain traditional Punjabi culture, there are cultural craft centres in and around Jullunder where sprang technique is one of several old textile arts being passed on to young craftspeople. Contemporary art textiles sometimes employ sprang in wall hangings. [2] (#cite_note-worldtex-2) References [ edit ] ^ Jump up to: a b c d e E. J. W. Barber (1991). Prehistoric Textiles: The Development of Cloth in the Neolithic and Bronze Ages with Special Reference to the Aegean . Princeton University Press. pp. 122–125. ISBN (/wiki/ISBN_(identifier)) 978-0-691-00224-8 . Retrieved 2008-09-13 . ^ Jump up to: a b c d John Gillow and Bryan Sentance (1999). World Textiles: A Visual Guide to Traditional Techniques . Thames & Hudson. p. 56. ^ Jump up to: a b c d e Linda Welters (1999). Folk Dress in Europe and Anatolia . Berg Publishers. pp. 207–209. ISBN (/wiki/ISBN_(identifier)) 978-1-85973-287-8 . Retrieved 2008-09-13 . ^ (#cite_ref-cambridge_4-0) D. T. Jenkins (2003). The Cambridge History of Western Textiles . Published by Cambridge University Press. pp. 24–25. ISBN (/wiki/ISBN_(identifier)) 978-0-521-34107-3 . Retrieved 2008-09-13 . ^ Jump up to: a b c d e f g h Catherine Amoroso Leslie (2007). Needlework Through History: An Encyclopedia . Greenwood Publishing Group. pp. 207–209. ISBN (/wiki/ISBN_(identifier)) 978-0-313-33548-8 . Retrieved 2008-09-13 . External links [ edit ] Wikimedia Commons has media related to Sprang (weaving) (https://commons.wikimedia.org/wiki/Category:Sprang_(weaving)) . Regia Anglorum - Anglo-Saxon and Viking Crafts - Sprang (http://www.regia.org/sprang.htm) Early Sprang Bibliography (http://www.cs.vassar.edu/~capriest/sprangbib.html) Hairnets and bonnets in Late Roman and Byzantine Egypt by Petra Linscheid (http://www.digitalegypt.ucl.ac.uk/textil/hairnets.html) Dutch website with English translation on sprang and nalbinding (http://www.denblauwenswaen.nl/) v t e Lace (/wiki/Lace) types Needle lace (/wiki/Needle_lace) Filet lace (/wiki/Filet_lace) Punto in Aria (/wiki/Punto_in_Aria) Point de Venise (/wiki/Point_de_Venise) Point de France (/wiki/Point_de_France) Alençon (/wiki/Alen%C3%A7on_lace) Aemilia Ars (/w/index.php?title=Aemilia_Ars&action=edit&redlink=1) Argentan (/wiki/Argentan_lace) Argentella (/wiki/Argentella) Armenian (/wiki/Armenian_needlelace) Burano (https://it.wikipedia.org/wiki/Merletto%20di%20Burano) Halas lace (/wiki/Halas_lace) Hedebo embroidery (/wiki/Hedebo_embroidery) Hollie Point (/wiki/Hollie_Point) Nallıhan (/wiki/Nall%C4%B1han_silk_needlelace) Point de Gaze (/wiki/Point_de_Gaze) Kenmare Lace (/wiki/Kenmare_lace) Ñandutí (/wiki/%C3%91andut%C3%AD) Oya (/wiki/Oya_(lace)) Pag (/wiki/Pag_lace) Puncetto Valsesiano (/w/index.php?title=Puncetto_Valsesiano&action=edit&redlink=1) Tenerife (/wiki/Tenerife_lace) Youghal (/wiki/Youghal_lace) Embroidery (/wiki/Embroidery) Buratto (/wiki/Buratto) Filet lace (/wiki/Filet_lace) Reticella (/wiki/Reticella) Limerick (/wiki/Limerick_lace) Needlerun net (/wiki/Needlerun_net) Tambour (/wiki/Tambour_lace) Cutwork (/wiki/Cutwork) Broderie anglaise (/wiki/Broderie_anglaise) Carrickmacross (/wiki/Carrickmacross_lace) Lefkara lace (/wiki/Lefkara_lace) Saba lace (/wiki/Saba_lace) Bobbin lace (/wiki/Bobbin_lace) Mesh grounds (/wiki/Mesh_grounded_bobbin_lace) Torchon (/wiki/Torchon_lace) Freehand (/wiki/Freehand_lace) Arras (/wiki/Arras_lace) Bayeux (/wiki/Bayeux_lace) Beeralu (/w/index.php?title=Beeralu&action=edit&redlink=1) Blonde (/wiki/Blonde_lace) Bucks point (/wiki/Bucks_point_lace) Chantilly (/wiki/Chantilly_lace) Chefoo (/w/index.php?title=Chefoo_lace&action=edit&redlink=1) Cogne (/wiki/Cogne_lace) Tønder (/wiki/T%C3%B8nder_lace) Beveren (/wiki/Beveren_lace) Lille (/wiki/Lille_lace) Binche (/wiki/Binche_lace) Flanders (/wiki/Flanders_lace) Paris (/wiki/Paris_lace) Valenciennes (/wiki/Valenciennes_lace) Antwerp (/wiki/Antwerp_lace) Mechlin (/wiki/Mechlin_lace) Ipswich (/wiki/Ipswich_lace) 's Gravenmoer (/w/index.php?title=%27s_Gravenmoer_lace&action=edit&redlink=1) Mundillo (/wiki/Mundillo) Guipure (/wiki/Guipure) Greek (/wiki/Greek_lace) Genoese (/wiki/Genoese_lace) Bedfordshire (/wiki/Bedfordshire_lace) Cluny (/wiki/Cluny_lace) Dentelle du Puy (https://fr.wikipedia.org/wiki/Dentelle_du_Puy) Liptov (/wiki/Liptov) Maltese (/wiki/Maltese_lace) Yak lace (/wiki/Yak_lace) Part laces (/wiki/Part_lace) Honiton (/wiki/Honiton_lace) Bruges (/wiki/Bruges_lace) Brussels (/wiki/Brussels_lace) Rosaline (/wiki/Rosaline_lace) Point d'Angleterre (/wiki/Brussels_lace#Point_d'Angleterre) Tape (/wiki/Bobbin_tape_lace) Cantù (/w/index.php?title=Cant%C3%B9_lace&action=edit&redlink=1) Milanese (/wiki/Milanese_bobbin_lace) Hinojosa (/w/index.php?title=Hinojosa_lace&action=edit&redlink=1) Russian (/wiki/Russian_lace) Idrija (/wiki/Idrija_lace) Schneeberg (/wiki/Schneeberg_lace) Peasant (/w/index.php?title=Peasant_lace&action=edit&redlink=1) Tape lace (/wiki/Tape_lace) Mezzopunto (/w/index.php?title=Mezzopunto&action=edit&redlink=1) Princess (/wiki/Princess_lace) Renaissance (/wiki/Renaissance_lace) Battenberg (/wiki/Battenberg_lace) Romanian point (/wiki/Romanian_point_lace) Branscombe (/wiki/Branscombe_lace) Crocheted lace (/wiki/Crocheted_lace) Broomstick lace (/wiki/Broomstick_lace) Irish crochet (/wiki/Irish_lace) Hairpin (/wiki/Hairpin_lace) Filet crochet (/wiki/Filet_crochet) Orvieto lace (/w/index.php?title=Orvieto_lace&action=edit&redlink=1) Machine (/wiki/Lace_machine) -made lace Bobbinet (/wiki/Bobbinet) Leavers (/wiki/Leavers_machine) Pusher (/wiki/Pusher_machine) Barmen (/wiki/Barmen_lace_machine) Curtain Machine (/wiki/Nottingham_lace_curtain_machine) Chemical (/wiki/Chemical_lace) Raschel (/wiki/Warp_knitting) Stocking Frame (/wiki/Stocking_frame) Warp Knit (/wiki/Warp_knitting) Other handmade laces Metal laces (/wiki/Metal_lace) Lace knitting (/wiki/Lace_knitting) Macramé (/wiki/Macram%C3%A9) Tatting (/wiki/Tatting) Punto a groppo (/wiki/Punto_a_groppo) Sprang Liturgical lace (/wiki/Liturgical_lace) Media related to Lace (https://commons.wikimedia.org/wiki/Category:Lace) at Wikimedia Commons Fashion portal (/wiki/Portal:Fashion) Clothing portal (/wiki/Portal:Clothing) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐k59xf Cached time: 20240720170808 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.363 seconds Real time usage: 0.474 seconds Preprocessor visited node count: 1068/1000000 Post‐expand include size: 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Luxury Italian fashion retailer MaxMara Company type Private Industry Fashion (/wiki/Fashion_industry) Founded 1951 Founder Achille Maramotti Headquarters Reggio Emilia (/wiki/Reggio_Emilia) , Italy Number of locations 2,334 (March 2019) [1] (#cite_note-Times-1) Area served 105 countries Key people Luigi Maramotti (chairman) Laura Lusuardi (design director) Products Ready-to-wear clothing Revenue €1.2bn [1] (#cite_note-Times-1) Owner Luigi, Ignazio and Ludovica Maramotti [1] (#cite_note-Times-1) Website Official website (http://www.maxmara.com/en/Home-Page) A shop in Central, Hong Kong (/wiki/Central,_Hong_Kong) Max Mara shop window Max Mara (Italian [maks 'ma:ra]) is an Italian fashion business (/wiki/Fashion_design) . It markets up-market ready-to-wear (/wiki/Ready-to-wear) clothing. It was established in 1951 in Reggio Emilia (/wiki/Reggio_Emilia) by Achille Maramotti (7 January 1927 – 12 January 2005). In March 2008, the company had 2,254 stores in 90 countries. [1] (#cite_note-Times-1) It sponsors the Max Mara Art Prize for Women (/wiki/Max_Mara_Art_Prize_for_Women) . The company is violating human rights by selling goods retrieved from Uyghur (/wiki/Uyghurs) forced labour in China. [2] (#cite_note-2) History [ edit ] Founded in 1951 by Achille Maramotti in Reggio Emilia, the fashion house was initially named Confezioni Maramotti with the aim of introducing American industrial processes into European tailoring culture, thus creating Italian pret-a-porter. [3] (#cite_note-3) [1] (#cite_note-Times-1) In 1957, the company expanded and moved to its new headquarters designed by industrial architect Eugenio Salvarani, changing its name to Max Mara. "Max" is a superlative, while "Mara" is a diminutive form of the founder's surname. [4] (#cite_note-Indy-4) Achille Maramotti chose the men's coat as an iconic garment for women's wardrobes, and in the 1960s, Max Mara established its creative studio to research the expression and personalization of outerwear. [5] (#cite_note-5) In the 1970s and 1980s, Max Mara began collaborating with international designers such as Anne-Marie Beretta (/wiki/Anne_Marie_Beretta) , [6] (#cite_note-soy-6) Emmanuelle Khanh (/wiki/Emmanuelle_Khanh) , Karl Lagerfeld (/wiki/Karl_Lagerfeld) , Jean-Charles de Castelbajac (/wiki/Jean-Charles_de_Castelbajac) , Narciso Rodriguez (/wiki/Narciso_Rodriguez) , [1] (#cite_note-Times-1) Proenza Schouler (/wiki/Proenza_Schouler) , as well as fashion photographers including Richard Avedon (/wiki/Richard_Avedon) , Arthur Elgort (/wiki/Arthur_Elgort) , Steven Meisel (/wiki/Steven_Meisel) , Sarah Moon (/wiki/Sarah_Moon) , Max Vadukul (/wiki/Max_Vadukul) , Mario Sorrenti (/wiki/Mario_Sorrenti) , David Sims (/wiki/David_Sims_(photographer)) , and Craig McDean (/wiki/Craig_McDean) . During the same period, Max Mara also introduced the Manuela coat, made of pure camel hair with a notched collar, side pockets, wrap-around closure, and a belt. It has since become a distinctive outerwear piece for the fashion house. In 1981, French designer Anne-Marie Beretta created the model 101801 coat, a camel-coloured wool and cashmere overcoat that became an iconic symbol of Max Mara. Inspired by the men's Ulster coat, the most noticeable feature of this model is the "puntino," a stitching detail derived from men's tailored suits. [7] (#cite_note-7) In 1989, the MM Magazine was launched, a biannual fashion and lifestyle publication distributed in the brand's stores and selected multi-brand retailers. In 2003, Max Mara relocated to its new campus in Reggio Emilia on Via Giulia Maramotti, designed by John McAslan & Partners. [8] (#cite_note-8) In 2013, the brand presented the Teddy Bear coat on the Autumn/Winter runway, made of alpaca wool and silk with a faux fur effect, inspiring a series of imitations. [9] (#cite_note-9) In 2015, Max Mara collaborated with Renzo Piano Building Workshop (/wiki/Renzo_Piano_Building_Workshop) to create the Whitney Bag for the opening of the new Whitney Museum of American Art (/wiki/Whitney_Museum) in New York's Meatpacking District. [10] (#cite_note-10) Brands [ edit ] Max Mara has spawned 35 labels, [4] (#cite_note-Indy-4) although Max Mara womenswear, usually stylized as MaxMara, remains the core of the company. Other brands include Sportmax, Sportmax Code, Weekend Max Mara, Marella, Pennyblack, iBlues, MAX&Co. (the trendy, youth division), and Marina Rinaldi (/wiki/Marina_Rinaldi) . This last, founded in 1980 and named after Achille Maramotti's great grandmother, is one of the best-known: in her obituary of Maramotti for The Independent (/wiki/The_Independent) . [11] (#cite_note-11) [12] (#cite_note-12) In 2013, Jennifer Garner (/wiki/Jennifer_Garner) became the first celebrity spokesperson for Max Mara. [13] (#cite_note-13) [14] (#cite_note-USA_Today_2013-14) Starting in September 2013, the campaign appeared in Vogue (/wiki/Vogue_(magazine)) , Harper's Bazaar (/wiki/Harper%27s_Bazaar) , Elle (/wiki/Elle_(magazine)) , W (/wiki/W_(magazine)) , InStyle (/wiki/InStyle) , The New York Times (/wiki/The_New_York_Times) , and the International Herald Tribune (/wiki/International_Herald_Tribune) . [14] (#cite_note-USA_Today_2013-14) Other activities [ edit ] Max Mara had a licensing agreement with Italian eyewear manufacturer Safilo (/wiki/Safilo) from 1997 to 2020. [15] (#cite_note-15) From 2019 to 2023, Sportmax had a five-year licensing agreement with Marcolin (/wiki/Marcolin) for the development, production and global distribution of the brand’s eyewear collections. [16] (#cite_note-16) For the development, production and distribution of its fragrances, Max Mara has had licensing agreements with Procter & Gamble (/wiki/Procter_%26_Gamble) ’s Cosmopolitan Cosmetics division (–2004), Selective Beauty (2006–2024) and Shiseido (/wiki/Shiseido) (since 2024). [17] (#cite_note-17) Philanthropy [ edit ] Women In Film Max Mara Face of the Future Award [ edit ] Introduced at the Women In Film's 2006 Crystal + Lucy Awards, this award is given to an actress who is experiencing a particularly interesting period in the film and television industry. The award recognizes their social commitment, contributions to the community at large, and their ability to stand out in terms of grace, elegance, and style. Past recipients of this award include: 2006 – Maria Bello (/wiki/Maria_Bello) 2007 – Emily Blunt (/wiki/Emily_Blunt) 2008 – Ginnifer Goodwin (/wiki/Ginnifer_Goodwin) 2009 – Elizabeth Banks (/wiki/Elizabeth_Banks) 2010 – Zoë Saldana (/wiki/Zoe_Salda%C3%B1a) 2011 – Katie Holmes (/wiki/Katie_Holmes) [18] (#cite_note-18) 2012 – Chloë Grace Moretz (/wiki/Chlo%C3%AB_Grace_Moretz) [19] (#cite_note-19) 2013 – Hailee Steinfeld (/wiki/Hailee_Steinfeld) [20] (#cite_note-20) 2014 – Rose Byrne (/wiki/Rose_Byrne) [21] (#cite_note-21) 2015 – Kate Mara (/wiki/Kate_Mara) [22] (#cite_note-22) 2016 – Natalie Dormer (/wiki/Natalie_Dormer) [23] (#cite_note-23) 2017 – Zoey Deutch (/wiki/Zoey_Deutch) [24] (#cite_note-24) 2019 – Elizabeth Debicki (/wiki/Elizabeth_Debicki) [25] (#cite_note-25) 2020 – Gemma Chan (/wiki/Gemma_Chan) 2021 – Zazie Beetz (/wiki/Zazie_Beetz) [26] (#cite_note-26) 2022 – Lili Reinhart (/wiki/Lili_Reinhart) 2023 – Yara Shahidi (/wiki/Yara_Shahidi) [27] (#cite_note-27) Max Mara Art Prize for Women [ edit ] This project was launched in 2005 in collaboration with the Whitechapel Gallery (/wiki/Whitechapel_Gallery) and is dedicated to women living in the United Kingdom. The jury consists of four members: a gallerist, a journalist and/or critic, an artist, and a collector, and it is renewed for each edition. [28] (#cite_note-28) The prize, awarded every two years, provides an opportunity to spend six months in Italy collaborating with local artists and conducting research. The resulting artwork is then exhibited at the Whitechapel Gallery in London and later at the Collezione Maramotti in Reggio Emilia, Italy. [29] (#cite_note-29) Recognition [ edit ] In 2012, Max Mara received the "Brand Heritage Award" from the global association Fashion Group International (/wiki/Fashion_Group_International) during the FGI's 29th Annual Night of Stars in New York (/wiki/New_York_City) . [30] (#cite_note-30) Criticism [ edit ] In 1995, Max Mara was placed under investigation by Florentine magistrate Antonio Grassi for alleged commercial fraud; at issue were Mara labels that allegedly overstated the percentages of plush fibers such as cashmere, angora and mohair mixed with the wool of certain garments. [31] (#cite_note-31) Research of the social democratic party in the European Parliament (/wiki/European_Parliament) , the Sheffield Hallam University (/wiki/Sheffield_Hallam_University) and further groups accused Max Mara in 2023 of using forced labour camps exploiting muslim Uyghurs in china provided by the Anhui Huamao Group Co., Ltd. (/w/index.php?title=Anhui_Huamao_Group_Co.,_Ltd.&action=edit&redlink=1) for production. [32] (#cite_note-32) In 2024, the Humane Society of the United States (/wiki/Humane_Society_of_the_United_States) campaigned for Max Mara to stop trafficking in the fur trade of foxes, mink, and raccoon dogs, stating "Max Mara has fallen behind their competitors—including Gucci, Versace, Armani, Prada and Valentino—that have already gone fur-free." [33] (#cite_note-33) Family [ edit ] Achille Maramotti was born on 7 January 1927, in Reggio Emilia (/wiki/Reggio_Emilia) in Italy. Maramotti was educated in Rome (/wiki/Rome,_Italy) and received a law degree from the University of Parma (/wiki/University_of_Parma) . According to the Forbes Rich List of 2005 (/wiki/List_of_billionaires_(2005)) , Maramotti was one of the world's richest men with a fortune of US$2.1 billion. [4] (#cite_note-Indy-4) He died in Albinea (/wiki/Albinea) , Italy on 12 January 2005. Maramotti's two sons and daughter, Luigi, Ignazio and Ludovica, followed him into the business; [4] (#cite_note-Indy-4) Luigi Maramotti is chairman of the company. [34] (#cite_note-34) After his death, according to Maramotti's will, a large and important collection of contemporary art (/wiki/Contemporary_art) from Europe and America was made open to the public. [35] (#cite_note-35) References [ edit ] Company portal (/wiki/Portal:Company) Fashion portal (/wiki/Portal:Fashion) Italy portal (/wiki/Portal:Italy) ^ Jump up to: a b c d e f Ashworth, Anne (2008), "MaxMara: A store that's always maximally stylish" (http://women.timesonline.co.uk/tol/life_and_style/women/fashion/article3547053.ece) , The Times , London (published 14 March 2008) , retrieved 9 April 2008 ^ (#cite_ref-2) Tailoring Responsibility: Tracing Apparel Supply Chains from the Uyghur Region to Europe (PDF) . Uyghur Rights Monitor, the Helena Kennedy Centre for International Justice at Sheffield Hallam University, and the Uyghur Center for Democracy and Human Rights. December 2023. p. 20. {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: date and year ( link (/wiki/Category:CS1_maint:_date_and_year) ) ^ (#cite_ref-3) Horyn, Cathy (14 January 2005). "Achille Maramotti, Italian Fashion Leader, Dies at 78" (https://www.nytimes.com/2005/01/14/fashion/achille-maramotti-italian-fashion-leader-dies-at-78.html) . The New York Times . ISSN (/wiki/ISSN_(identifier)) 0362-4331 (https://www.worldcat.org/issn/0362-4331) . Retrieved 9 June 2023 . ^ Jump up to: a b c d Barbieri, Annalisa (2005), "Tycoon who pioneered 'off the peg' designer clothes with his fashion label MaxMara" (https://web.archive.org/web/20081211015258/http://www.independent.co.uk/news/obituaries/achille-maramotti-488030.html) , The Independent , London (published 24 January 2005), archived from the original (https://www.independent.co.uk/news/obituaries/achille-maramotti-488030.html) on 11 December 2008 , retrieved 9 April 2008 ^ (#cite_ref-5) "Max Mara celebra 60 anni di moda con la mostra Coats! a Seoul" (https://www.vanityfair.it/fashion/news-fashion/2017/11/29/max-mara-mostra-coats-seoul-corea-60-anni-brand) . Vanity Fair Italia (in Italian). 29 November 2017 . Retrieved 9 June 2023 . ^ (#cite_ref-soy_6-0) " (http://www.palaisgalliera.paris.fr/en/work/soy-dress-anne-marie-beretta) 'Soy' dress, Anne-Marie Beretta" (http://www.palaisgalliera.paris.fr/en/work/soy-dress-anne-marie-beretta) . Palais Galliera | Musée de la mode de la Ville de Paris . Retrieved 24 August 2018 . ^ (#cite_ref-7) Amico, Alexandra (9 December 2021). "Max Mara coat, the most famous in the world" (https://italian-traditions.com/max-mara-coat-the-most-famous-in-the-world/) . Retrieved 9 June 2023 . ^ (#cite_ref-8) "Max Mara Headquarters, John McAslan + Partners" (https://www.theplan.it/eng/magazine/2005/the-plan-012-12-2005-/max-mara-headquarters) . The Plan . ^ (#cite_ref-9) Trebay, Guy (6 March 2019). "That Cuddly Teddy Bear Coat Is a Monster" (https://www.nytimes.com/2019/03/06/style/teddy-bear-coat-maxmara.html) . The New York Times . ISSN (/wiki/ISSN_(identifier)) 0362-4331 (https://www.worldcat.org/issn/0362-4331) . Retrieved 9 June 2023 . ^ (#cite_ref-10) Weiss, Zachary (23 April 2015). "Max Mara Unveils the Whitney Bag" (https://observer.com/2015/04/max-mara-unveils-the-whitney-bag/) . Observer . Retrieved 9 June 2023 . ^ (#cite_ref-11) History & Philosophy’ (http://www.marinarinaldi.com/en/About-Us-History-and-Philosophy) Archived (https://web.archive.org/web/20130203084223/http://www.marinarinaldi.com/en/About-Us-History-and-Philosophy) 2013-02-03 at the Wayback Machine (/wiki/Wayback_Machine) , Marina Rinaldi. ^ (#cite_ref-12) Annalisa Barbieri, ‘Achille Maramotti’ (https://web.archive.org/web/20081211015258/http://www.independent.co.uk/news/obituaries/achille-maramotti-488030.html) , The Independent, 24 January 2005. ^ (#cite_ref-13) "Mara Executives Still Think She's That Chick from The Hunger Game ". The Express . 17 July 2013. ^ Jump up to: a b Puente, Maria (16 July 2013). "Jennifer Garner is the new face of Max Mara" (https://www.usatoday.com/story/life/people/2013/07/16/jennifer-garner-is-the-new-face-of-max-mara/2521359/) . USA Today . Retrieved 17 July 2013 . ^ (#cite_ref-15) Martino Carrera (19 June 2020), Max Mara, Safilo Terminate Eyewear License (https://wwd.com/feature/max-mara-safilo-terminate-eyewear-license-1203657574/) Women's Wear Daily (/wiki/Women%27s_Wear_Daily) . ^ (#cite_ref-16) Martino Carrera (19 February 2019), Sportmax, Marcolin Ink Five-Year Eyewear License (https://wwd.com/feature/sportmax-marcolin-ink-five-year-eyewear-license-1203032960/) Women's Wear Daily (/wiki/Women%27s_Wear_Daily) . ^ (#cite_ref-17) Jennifer Weil and Luisa Zargani (4 July 2024), Shiseido, Max Mara to Ink Fragrance License (https://wwd.com/beauty-industry-news/fragrance/shiseido-max-mara-sign-fragrance-license-1236479998/) Women's Wear Daily (/wiki/Women%27s_Wear_Daily) . ^ (#cite_ref-18) Marcy Medina (17 June 2011), Max Mara, Vanity Fair Fete Katie Holmes (https://wwd.com/eye/people/women-in-film-and-pantsuits-3662513/) Women's Wear Daily (/wiki/Women%27s_Wear_Daily) . ^ (#cite_ref-19) Emily Holt (26 February 2012), Italian-Style: MaxMara Hosts a Fete in Honor of Chloë Moretz (https://www.vogue.com/article/italian-style-maxmara-hosts-a-fete-in-honor-of-chloe-moretz) Vogue (/wiki/Vogue_(magazine)) . ^ (#cite_ref-20) Merle Ginsberg (13 June 2013), MaxMara Hosts Annual Party Before Women in Film Awards (https://www.hollywoodreporter.com/lifestyle/style/maxmara-hosts-annual-party-before-567711/) The Hollywood Reporter (/wiki/The_Hollywood_Reporter) . ^ (#cite_ref-21) Johns, Nikara (10 June 2014). "Rose Byrne Is Max Mara's Face of the Future" (https://variety.com/2014/film/awards/rose-byrne-is-max-maras-face-of-the-future-1201216986/) . Variety . Retrieved 9 June 2023 . ^ (#cite_ref-22) "Two Maras Are Better Than One" (https://www.wmagazine.com/story/max-mara-kate-mara-women-in-film) . W Magazine . 16 June 2015 . Retrieved 9 June 2023 . ^ (#cite_ref-23) "Max Mara honours Natalie Dormer with Women In Film 'Face of the Future' Award" (https://www.telegraph.co.uk/fashion/people/natalie-dormers-best-looks/) . The Telegraph . 15 June 2016 . Retrieved 9 June 2023 . ^ (#cite_ref-24) "Zoey Deutch Is the Face of the Future at Max Mara's 2017 Women in Film Celebration" (https://www.vogue.com/article/zoey-deutch-max-mara-women-in-film-dinner-milan-fashion-week-2017) . Vogue . 23 February 2017 . Retrieved 9 June 2023 . ^ (#cite_ref-25) Luisa Zargani (21 February 2019), Elizabeth Debicki to Receive the Women in Film Max Mara Face of the Future Award (https://wwd.com/feature/elizabeth-debicki-to-receive-the-women-in-film-max-mara-face-of-the-future-award-1203037750/) Women's Wear Daily (/wiki/Women%27s_Wear_Daily) . ^ (#cite_ref-26) Booth Moore (23 September 2021), Zazie Beetz Is Max Mara’s Face of the Future Honoree for 2021 (https://wwd.com/feature/zazie-beetz-is-max-maras-face-of-the-future-honoree-for-1234937048/) Women's Wear Daily (/wiki/Women%27s_Wear_Daily) . ^ (#cite_ref-27) Luisa Zargani (21 September 2023), Yara Shahidi to Receive WIF Max Mara Face of the Future Award (https://wwd.com/fashion-news/fashion-scoops/yara-shahidi-receive-wif-max-mara-face-of-the-future-award-1235824144/) Women's Wear Daily (/wiki/Women%27s_Wear_Daily) . ^ (#cite_ref-28) Jonze, Tim (28 March 2023). "Dominique White wins Max Mara art prize for women" (https://www.theguardian.com/artanddesign/2023/mar/28/dominique-white-wins-max-mara-art-prize-for-women) . The Guardian . ISSN (/wiki/ISSN_(identifier)) 0261-3077 (https://www.worldcat.org/issn/0261-3077) . Retrieved 9 June 2023 . ^ (#cite_ref-29) "Helen Cammock Wins Whitechapel's Max Mara Art Prize for Women" (https://artlyst.com/news/helen-cammock-wins-max-mara-art-prize-for-women/) . Artlyst . Retrieved 9 June 2023 . ^ (#cite_ref-30) Redazione (1 November 2012). "Max Mara premiata con il "Brand Heritage Award" (https://www.fashiontimes.it/2012/11/max-mara-premiata-con-il-brand-heritage-award/) " (https://www.fashiontimes.it/2012/11/max-mara-premiata-con-il-brand-heritage-award/) . Fashion Times (in Italian) . Retrieved 9 June 2023 . ^ (#cite_ref-31) Alessandra Ilari (25 May 1995), Max Mara Probed (https://wwd.com/feature/article-1139587-1760873/) Women's Wear Daily (/wiki/Women%27s_Wear_Daily) . ^ (#cite_ref-32) Tailoring Responsibility: Tracing Apparel Supply Chains from the Uyghur Region to Europe (PDF) . 2023. p. 17. ^ (#cite_ref-33) "Tell Max Mara to go fur-free!" (https://secured.humanesociety.org/page/142815/action/1) . The Humane Society . 9 February 2024. ^ (#cite_ref-34) Kaiser, Amanda (5 November 2013). "Max Mara Steadfast in Growth Plan" (http://www.wwd.com/markets-news/designer-luxury/max-mara-holds-tokyo-event-7264378?src=nl/mornReport/20131106) . WWD . Retrieved 6 November 2013 . ^ (#cite_ref-35) Collezionemaramotti.org (http://www.collezionemaramotti.org) External links [ edit ] Official website (http://www.maxmara.com/en/Home-Page) Authority control databases (/wiki/Help:Authority_control) International VIAF (https://viaf.org/viaf/262662184) National United States (https://id.loc.gov/authorities/nb2008007207) NewPP limit report Parsed by mw‐web.codfw.main‐687d5b87c4‐h6f6g Cached time: 20240709223923 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.410 seconds Real time usage: 0.549 seconds Preprocessor visited node count: 2524/1000000 Post‐expand include size: 54768/2097152 bytes Template argument size: 2111/2097152 bytes Highest expansion depth: 13/100 Expensive parser function count: 7/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 95268/5000000 bytes Lua time usage: 0.260/10.000 seconds Lua memory usage: 7139032/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 479.541 1 -total 38.81% 186.100 1 Template:Reflist 18.69% 89.629 1 Template:Infobox_company 16.82% 80.645 1 Template:Infobox 16.62% 79.699 2 Template:Citation 16.45% 78.883 1 Template:Authority_control 14.08% 67.497 1 Template:Short_description 9.56% 45.863 13 Template:Cite_web 8.02% 38.462 2 Template:Pagetype 6.00% 28.754 1 Template:Portal Saved in parser cache with key enwiki:pcache:idhash:5629986-0!canonical and timestamp 20240709223923 and revision id 1233594817. 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Informal type of uniform used by military Senior officers wearing the service dress of the Royal Australian Air Force, US Marine Corps and US Navy. Part of a series (/wiki/Category:Formal_wear) on Western dress codes (/wiki/Western_dress_codes) and corresponding attires (/wiki/Clothing) Formal (/wiki/Formal_wear) ( full dress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) ) White tie (/wiki/White_tie) Morning dress (/wiki/Morning_dress) Full dress uniform (/wiki/Full_dress_uniform) Frock coat (/wiki/Frock_coat) Evening gown (/wiki/Evening_gown) Ball gown (/wiki/Ball_gown) Semi-formal (/wiki/Semi-formal_wear) ( half dress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) ) Black tie (/wiki/Black_tie) Black lounge suit (/wiki/Black_lounge_suit) Mess dress uniform (/wiki/Mess_dress_uniform) Evening gown (/wiki/Evening_gown) Cocktail dress (/wiki/Cocktail_dress) Informal (/wiki/Informal_wear) ( undress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) , "dress clothes") Suit (/wiki/Suit) Service dress uniform Cocktail dress (/wiki/Cocktail_dress) Pantsuit (/wiki/Pantsuit) Casual (/wiki/Casual_wear) (anything not above) Business casual (/wiki/Business_casual) Casual Friday (/wiki/Casual_Friday) Combat uniform (/wiki/Combat_uniform) Smart casual (/wiki/Smart_casual) Workwear (/wiki/Workwear) Streetwear (/wiki/Streetwear) Sportswear (/wiki/Sportswear) known as Sportswear (fashion) (/wiki/Sportswear_(fashion)) and Athleisure (/wiki/Athleisure) Undress (/wiki/Undress_code) Supplementary alternatives Ceremonial dress (/wiki/Ceremonial_dress) law courts (/wiki/Court_dress) royal courts (/wiki/Court_uniform_and_dress_in_the_United_Kingdom) diplomatic (/wiki/Diplomatic_uniform) academic (/wiki/Academic_dress) , etc. Religious clothing (/wiki/Religious_clothing) cassock (/wiki/Cassock) , habit (/wiki/Religious_habit) , etc. Folk costume (/wiki/Folk_costume) Distinctions Orders (/wiki/Order_(distinction)) medals (/wiki/Medal) , etc. Legend: = Day (before 6 p.m.) = Evening (after 6 p.m.) = Bow tie (/wiki/Bow_tie) colour = Ladies = Gentlemen Fashion portal (/wiki/Portal:Fashion) v t e Service dress uniform is the informal (/wiki/Informal_wear) type of uniform (/wiki/Uniform) used by military (/wiki/Military) , police (/wiki/Police) , fire (/wiki/Firefighter) and other public uniformed services (/wiki/Uniformed_services) for everyday office (/wiki/Office) , barracks (/wiki/Barracks) and non-field duty purposes and sometimes for ceremonial occasions. It frequently consists of a jacket (/wiki/Jacket) , trousers (/wiki/Trousers) , dress shirt (/wiki/Dress_shirt) , and neck tie (/wiki/Neck_tie) , along with orders (/wiki/Order_(distinction)) , medals (/wiki/Medals) , and insignia (/wiki/Insignia) . Design may depend on regiment (/wiki/Regiment) or service branch (/wiki/Service_branch) , e.g. army (/wiki/Army) , navy (/wiki/Navy) , air force (/wiki/Air_force) , marines (/wiki/Marines) , etc. In Western dress codes (/wiki/Western_dress_codes) , a service dress uniform is a permitted supplementary alternative equivalent to the civilian (/wiki/Civilian) suit (/wiki/Suit) - sometimes collectively called undress (/wiki/Undress) or "dress clothes". As such, a service dress uniform is considered less formal than both full dress (/wiki/Full_dress_uniform) and mess dress uniforms (/wiki/Mess_dress_uniform) , but more formal than combat uniforms (/wiki/Combat_uniform) . Service dress uniforms were originally worn in active service in the field or at sea, but became relegated to office, barracks, and walking out dress as more practical field uniforms evolved. In some parts of some armed forces such as the British Army (/wiki/British_Army) , service dress uniform may also be used for ceremonial occasions, gradually replacing in this role the full dress uniforms that had preceded them as field uniforms. In the United States Navy (/wiki/United_States_Navy) , for example, service dress uniforms are worn for official functions not rising to the level of full dress or mess dress uniforms. They are also commonly worn when travelling in official capacity, or when reporting to a command (/wiki/Command_(military_formation)) . They may be seasonal, with a white uniform worn in summer and darker versions in winter. History [ edit ] The origins of the service dress can be traced back to when the British introduced khaki to their uniforms in India in the mid 18th century, with its official introduction into the regular British Army commenced in the early 1900s. Service dress uniform by country [ edit ] Australia [ edit ] Further information: Uniforms of the Australian Army (/wiki/Uniforms_of_the_Australian_Army) The Service Dress in use by the Australian Army (/wiki/Australian_Army) is the ceremonial dress, a continuation of the uniform of the world wars. Canada [ edit ] Further information: Uniforms of the Canadian Armed Forces (/wiki/Uniforms_of_the_Canadian_Armed_Forces) Members of the Canadian Army (/wiki/Canadian_Army) , Royal Canadian Air Force (/wiki/Royal_Canadian_Air_Force) , and Royal Canadian Navy (/wiki/Royal_Canadian_Navy) , with the latter two elements wearing their respective No. 3B Service Dress uniforms . Although the Canadian Armed Forces (/wiki/Canadian_Armed_Forces) is a single service, its respective environmental commands maintain "distinctive environmental uniforms," distinct for its specific environmental branch (including the Canadian Army (/wiki/Canadian_Army) , the Royal Canadian Air Force (/wiki/Royal_Canadian_Air_Force) , and the Royal Canadian Navy (/wiki/Royal_Canadian_Navy) ). Service dress is listed as No. 3 Service Dress in the Canadian Armed Forces order of dress. The order of dress may be further split into five variant. [1] (#cite_note-can-1) The complete service dress uniform, known as No. 3 Duty includes the service's headgear, neck tie, name tag. The uniform's jacket, trousers, and collared shirt, are coloured in the style of their environmental command. A skirt may be used by females members in place of trousers. [1] (#cite_note-can-1) Service dress with a long-sleeve collared shirt and no jacket is known as No. 3A, while service dress with a short-sleeved collared shirt and no jacket is No. 3B. [1] (#cite_note-can-1) Wearing an authorized sweater over the collared shirt, instead of a jacket is known as No. 3C. [1] (#cite_note-can-1) No. 3D Service Dress is the Canadian Armed Forces tropical service dress, and is similar in wear to No. 3B, except it is coloured in tan; and shorts may be worn in place of trousers. [1] (#cite_note-can-1) Israel [ edit ] Members of the Israeli Defence Force (/wiki/Israeli_Defence_Force) in their olive-green Madei Alef service dress uniform. When founded in 1948, only khaki combat uniforms were issued to the Israeli Defence Force (/wiki/Israeli_Defence_Force) Ground Arm. In April, 1948, the first military parade was held, in which soldiers wore the Hittlemacher hat, a square cap with a flap at the back to protect the neck from sun exposure. A winter uniform similar to British Army No. 2 Dress (/wiki/Service_Dress_(British_Army)) was introduced in the 1950s, and uniforms similar to British Army Barrack Dress was often worn for ceremonial parades from the 1950s and 1960s. For female soldiers, these uniforms included skirts, brown dress shoes (known as Golda shoes for Golda Meir (/wiki/Golda_Meir) ) and caps similar to those worn by airline stewardesses known as rooster caps . [2] (#cite_note-2) Presently, the Madei Alef uniforms serves as the IDF's service dress uniform. Made out of rayon (/wiki/Rayon) , the uniforms consist of a shirt, trousers, sweater, jacket or blouse, and shoes or boots. The general service dress uniform is coloured olive-green, although the Madei Alef uniforms used by the Israeli Sea Corps (/wiki/Israeli_Sea_Corps) and Air Force (/wiki/Israeli_Air_Force) are coloured beige. United Kingdom [ edit ] Further information: Uniforms of the British Armed Forces (/wiki/Uniforms_of_the_British_Armed_Forces) British Army [ edit ] General (/wiki/General_(United_Kingdom)) Sir Nicholas Houghton dressed in the British Army (/wiki/British_Army) 's No. 2 Service Dress. The British Army (/wiki/British_Army) has issued khaki Service Dress uniforms (/wiki/Service_Dress_(British_Army)) for use in the field shortly since after the Second Boer War (/wiki/Second_Boer_War) in the early 1900s. Since World War II (/wiki/World_War_II) , the uniform has been referred to as No. 2 Dress, with the tunic being swapped out for a jacket with an open collar for wear with collared shirt and tie. Berets may be worn in place of a peaked cap. Additionally, officers of the British Army are authorized to wear a second variant of service dress, known as No. 4 Warm Weather Service Dress. The uniform is similar to No. 2 Service Dress, except it is stone grey coloured, made from a polyester (/wiki/Polyester) / wool (/wiki/Wool) worsted (/wiki/Worsted) mix. No. 4 Service Dress is typically worn on warm-weather formal occasions not including parades. Royal Marines [ edit ] The green Parade Lovats, left, worn by an RM officer. In the Royal Marines the equivalent of British Army service dress is Number 1B dress 'Parade Lovats'. United States [ edit ] The five service branches of the United States Armed Forces (/wiki/United_States_Armed_Forces) each maintain their own variant of service dress. United States Air Force [ edit ] Further information: Uniforms of the United States Air Force (/wiki/Uniforms_of_the_United_States_Air_Force) The service dress uniforms used by the United States Air Force (/wiki/United_States_Air_Force) consist of a blue jacket and matching trousers worn with a light blue shirt and blue tie. A side cap (/wiki/Side_cap) or peaked cap (/wiki/Peaked_cap) are worn as headwear. The tradition of blue service uniforms date back to 1949, shortly after the Air Force was spun-off from the Army. The first version were made in a shade known as "Uxbridge Blue" and were developed and manufactured at the former Bachman Uxbridge Worsted Company in Uxbridge, Massachusetts. The current version was introduced in the 1990s. Members of the Civil Air Patrol (/wiki/Civil_Air_Patrol) , the United States Air Force Auxiliary, are authorized to wear the uniform with distinctive markings. United States Army [ edit ] Further information: Uniforms of the United States Army (/wiki/Uniforms_of_the_United_States_Army) US Army sergeants wearing service dress uniforms at a conference. The United States Army (/wiki/United_States_Army) authorizes the Army Service Uniform (/wiki/Army_Service_Uniform) as its daily wear service uniform. Since 2018, there are two versions authorized, a green uniform and a blue one. In November 2018, the U.S. Army announced the introduction of a new green service uniform modeled after the " pinks and greens (/wiki/Pinks_and_greens) " service uniforms worn by officers during the Second World War and Korean War. This uniform consists of a dark olive drab coat with belted waist, light taupe trousers, tan shirt, olive necktie, olive garrison cap (/wiki/Side_cap) , and brown shoes. A peaked cap (/wiki/Peaked_cap) is optional. This uniform became standard-issue beginning in 2020 and becomes mandatory in 2027. The blue service uniform consists of a dark blue coat, light blue trousers (dark blue for general officers), a white turndown-collar shirt, black necktie (neck tab for women), a black beret, and black shoes. Women may wear a dark blue skirt instead of trousers. A peaked cap may be worn instead of the beret. The blue uniform's colours are based on the traditional colours used by most U.S. Army uniforms until 1902, when the introduction of khaki and olive drab uniforms relegated blue uniforms to full-dress use and off-duty wear until 1917, when issuance was halted due to the First World War. The current version of the uniform was reintroduced in 1957 as an optional full dress uniform. It was authorized as the army-wide service dress uniform in 2008, becoming standard-issue in 2010, when it replaced the previous green service uniform in use since 1954. With the reintroduction of a green service uniform, the blue uniform returns to being an optional uniform for more formal occasions. [3] (#cite_note-3) United States Coast Guard [ edit ] Members of the United States Coast Guard (/wiki/United_States_Coast_Guard) pose for a photo in service dress blue uniforms. In 1972, the current Coast Guard Service Dress Blue uniform was introduced for wear by both officers and enlisted personnel; the transition was completed during 1974. Relatively similar in appearance to the old-style U.S. Air Force uniforms, the uniform consists of a blue four-pocket single breasted jacket and trousers in a slightly darker shade. Unlike the U.S. Navy, officers and CPO's do not wear khaki; all personnel wear the same colour uniform. See also [ edit ] Military uniform (/wiki/Military_uniform) Full dress uniform (/wiki/Full_dress_uniform) Mess dress uniform (/wiki/Mess_dress_uniform) Combat uniform (/wiki/Combat_uniform) References [ edit ] ^ Jump up to: a b c d e "Dress instructions Annex C Service dress – No. 3" (https://www.canada.ca/en/department-national-defence/services/military-history/history-heritage/dress-manual/chapter-5/annex-c.html) . Canadian Forces Dress Instructions . Government of Canada. 1 February 2017 . Retrieved 4 June 2019 . ^ (#cite_ref-2) Cut from the Same Cloth: A Look Back at the IDF's Uniforms . IDF Blog (https://www.idfblog.com/blog/2013/06/16/cut-from-the-same-cloth-a-look-back-at-the-idfs-uniforms/) ^ (#cite_ref-3) "18-.Overcoat,ceremonial,blue" (https://armypubs.army.mil/epubs/DR_pubs/DR_a/pdf/web/ARN6028_DAPam670-1_Web_FINAL.pdf) (PDF) . Guide to Wear and Appearance of Army Uniforms and Insignia . Department of the Army. 25 May 2017. p. 127 . Retrieved 4 June 2019 . 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Department store in New York City B. Altman and Company Lithograph of flagship Fifth Avenue store circa 1915 Industry Retail Department Store Founded New York City, USA (1865 ( 1865 ) ) Founder Benjamin Altman Defunct January 29, 1990 ( 1990-01-29 ) Fate Bankruptcy Headquarters 361 5th Ave New York, NY 10016 , USA Number of locations 4 Area served New York metropolitan area (/wiki/New_York_metropolitan_area) Key people Benjamin Altman Products High Fashion, upscale clothing B. Altman's Fifth Avenue store, which is now home to The Graduate Center (/wiki/The_Graduate_Center,_CUNY) of The City University of New York (/wiki/City_University_of_New_York) , Church Pension Group (/w/index.php?title=Church_Pension_Group&action=edit&redlink=1) , and Oxford University Press (/wiki/Oxford_University_Press) Altman's store on Sixth Avenue (/wiki/Sixth_Avenue_(Manhattan)) in the Ladies' Mile shopping district (/wiki/Ladies%27_Mile_Historic_District) B. Altman and Company was a luxury department store (/wiki/Department_store) and chain, founded in 1865 in New York City (/wiki/New_York_City) , New York (/wiki/New_York_(state)) , by Benjamin Altman (/wiki/Benjamin_Altman) . Its flagship store, the B. Altman and Company Building (/wiki/B._Altman_and_Company_Building) at Fifth Avenue (/wiki/Fifth_Avenue_(Manhattan)) and 34th Street (/wiki/34th_Street_(Manhattan)) in Midtown Manhattan (/wiki/Midtown_Manhattan) , operated from 1906 until the company closed the store at the end of 1989. [1] (#cite_note-1) Branch stores were all shuttered by the end of January 1990. [2] (#cite_note-2) One of the first American department stores to open out-of-town branches, Altman's eventually opened locations in Pennsylvania (/wiki/Pennsylvania) ( St. Davids (/wiki/St._Davids,_Pennsylvania) in 1965 and Willow Grove (/wiki/Willow_Grove_Park_Mall) in 1983), New Jersey (/wiki/New_Jersey) ( Short Hills (/wiki/Short_Hills,_New_Jersey) in 1958—replacing an earlier nearby East Orange (/wiki/East_Orange) store—and Ridgewood (/wiki/Ridgewood,_New_Jersey) / Paramus (/wiki/Paramus,_New_Jersey) in 1967); and New York (/wiki/New_York_(state)) state ( Manhasset (/wiki/Manhasset,_New_York) in 1947 and White Plains (/wiki/White_Plains,_New_York) in 1930). A short-lived location in Cincinnati (/wiki/Cincinnati) , Ohio (/wiki/Ohio) , opened during the L.J. Hooker (/wiki/LJ_Hooker) ownership period (1987–1989), and two mall locations in Buffalo (/wiki/Walden_Galleria) and Syracuse (/wiki/Destiny_USA) , New York, were physically completed but never occupied by Altman's during that same time. History [ edit ] The store that would become B. Altman and Company began on Manhattan's Lower East Side (/wiki/Lower_East_Side) as a family-owned store, which by 1865 had come to be solely owned by Benjamin Altman (/wiki/Benjamin_Altman) , one of the brothers in the family, [3] (#cite_note-tourflat-3) and was located at Third Avenue (/wiki/Third_Avenue_(Manhattan)) and 10th Street (/wiki/10th_Street_(Manhattan)) . In 1877, the store, wanting to expand, relocated to 621 Sixth Avenue (/wiki/Sixth_Avenue_(Manhattan)) between 18th (/wiki/18th_Street_(Manhattan)) and 19th Streets (/wiki/19th_Street_(Manhattan)) . [3] (#cite_note-tourflat-3) This neo-Grec (/wiki/Neo-Grec) building was put up in four stages, and was designed by David and John Jardine (/wiki/David_and_John_Jardine) (the original building, 1876–77, and the 1880 extension), William Hume (1887) and Buchman & Fox (1909–1910). [3] (#cite_note-tourflat-3) By 1906, though, Altman's had moved to its new block-long B. Altman and Company Building (/wiki/B._Altman_and_Company_Building) running from 34th (/wiki/34th_Street_(Manhattan)) to 35th (/wiki/35th_Street_(Manhattan)) Streets, which was expanded in stages through 1913 to 188–89 Madison Avenue (/wiki/Madison_Avenue_(Manhattan)) . The original Fifth Avenue building and the extensions were all designed by Trowbridge & Livingston (/wiki/Trowbridge_%26_Livingston) in Italian Renaissance style (/wiki/Renaissance_Revival_architecture) . [4] (#cite_note-aia-4) [5] (#cite_note-nycland-5) Altman's was the first big department store to make the move from the "Ladies' Mile" shopping district (/wiki/Ladies%27_Mile_Historic_District) , where the dry-goods emporia had been located, to Fifth Avenue. That neighborhood was still almost entirely residential at the time, and the design of the new building, across the street from the grand residence of department-store rival A. T. Stewart (/wiki/Alexander_Turney_Stewart) 's and diagonally across the avenue from the residence of Mrs. Astor (/wiki/Caroline_Webster_Schermerhorn_Astor) , was planned to fit in with these palatial mansions around it. Following Altman's example, other big stores made the move uptown, such as Lord & Taylor (/wiki/Lord_%26_Taylor) , which moved to another Fifth Avenue building (/wiki/Lord_%26_Taylor_Building) in 1914. [4] (#cite_note-aia-4) In the 1930s, Altman's made one of the early entries in the suburbs, with branches opening in East Orange (/wiki/East_Orange,_New_Jersey) (later relocated to Short Hills (/wiki/Short_Hills,_New_Jersey) ), White Plains and Manhasset. The foresight of the organization in geographical selection can be seen in that the Short Hills location is now The Mall at Short Hills (/wiki/The_Mall_at_Short_Hills) , the White Plains location is now The Westchester (/wiki/The_Westchester) shopping mall, and the Manhasset location is adjacent to the Americana Manhasset (/wiki/Americana_Manhasset) , which opened nine years after the Altman's store. Artist Creator:B. Altman & Co (1894), Metropolitan Museum of Art (/wiki/Metropolitan_Museum_of_Art) . Artist Creator:B. Altman & Co (1883), Metropolitan Museum of Art. Artist Creator:B. Altman & Co (1881), Metropolitan Museum of Art. Artist Creator:B. Altman & Co (1894), Metropolitan Museum of Art. Artist Creator:B. Altman & Co (1894), Metropolitan Museum of Art. Artist Creator:B. Altman & Co (1850), Metropolitan Museum of Art. Artist Creator:B. Altman & Co (1850), Metropolitan Museum of Art. Artist Creator:B. Altman & Co (1881), Metropolitan Museum of Art. After Altman's death [ edit ] When Benjamin Altman died in 1913 at the age of 73, his stock in the stores was placed into the Altman Foundation. Altman's art collection, which included many Rembrandts (/wiki/Rembrandt) , went to New York City's Metropolitan Museum of Art (/wiki/Metropolitan_Museum_of_Art) . [6] (#cite_note-6) In 1986, due to changing IRS (/wiki/Internal_Revenue_Service) rulings, [7] (#cite_note-7) the foundation sold the stores to an investor group that included members of the Gucci (/wiki/Gucci) family and two principals from financial firm Deloitte & Touche (/wiki/Deloitte_%26_Touche) . [8] (#cite_note-8) In 1987, Australian real estate development company L.J. Hooker (/wiki/LJ_Hooker) and its chief executive officer, George Herscu, purchased the controlling interest in the B. Altman stores (as well as Bonwit Teller (/wiki/Bonwit_Teller) , Sakowitz (/wiki/Sakowitz) and a majority of Parisian (/wiki/Parisian_(department_store_chain)) ). [9] (#cite_note-9) Hooker used these chains as anchors in poorly located, yet extravagant, new shopping centers across the country. With Hooker and Herscu knowing virtually nothing about how to operate these various retail chains, and then placing them in locations with no regard for market recognition or demographics, their strategy failed miserably, and in August 1989 B. Altman filed for bankruptcy, with the last store closing in 1990. [10] (#cite_note-10) The suburban Buffalo location at the huge Walden Galleria (/wiki/Walden_Galleria) complex was, in fact, fully completed and fixtured but never occupied by Altman's. It would later be occupied in 1991 by local department store AM&A's (/wiki/AM%26A%27s) and eventually a Bon-Ton (/wiki/Bon-Ton) , which vacated in 2006. This never-opened Altman's location was demolished for a new cinema complex and mall expansion. The Carousel Center (/wiki/Destiny_USA) Mall location in Syracuse was under construction at the time and redesigned to house a succession of several discount anchors, one on each of the two floors. The store had a reputation for gentility and conservatism. [11] (#cite_note-11) [12] (#cite_note-12) It was regarded as similar to Marshall Field & Company (/wiki/Marshall_Field_%26_Company) in Chicago (/wiki/Chicago) . Highlighting its sober reputation, the stores included a satellite location of Colonial Williamsburg (/wiki/Colonial_Williamsburg) 's Craft House (https://web.archive.org/web/20081204115903/http://www.colonialwilliamsburgresort.com/shopping/williamsburg) that sold classic colonial reproductions. Two lost treasures from the store are the famous Christmas windows (/wiki/Christmas_window) , which rivaled those in the Lord & Taylor Building (/wiki/Lord_%26_Taylor_Building) , a few blocks up Fifth Avenue, as well as the Charleston Gardens (/w/index.php?title=Charleston_Gardens&action=edit&redlink=1) restaurant, which housed a full-sized facade of a Tara-like Charleston (/wiki/Charleston,_South_Carolina) home. The St. David's location and the other branch stores also had a Charleston Garden restaurant. Buildings [ edit ] On March 12, 1985, Altman's Fifth Avenue building was designated a New York City landmark (/wiki/List_of_New_York_City_Landmarks) . [13] (#cite_note-13) When Altman's closed, the building stood vacant until 1996, when the exterior was restored by Hardy Holzman Pfeiffer (/wiki/Hardy_Holzman_Pfeiffer) and the interior reconfigured by Gwathmey Siegel & Associates (/wiki/Gwathmey_Siegel_%26_Associates) . The Fifth Avenue side was used by the City University of New York (/wiki/City_University_of_New_York) 's Graduate Center (/wiki/Graduate_Center,_CUNY) , while the Madison Avenue side was used by the New York Public Library (/wiki/New_York_Public_Library) 's Science, Industry and Business Library (/wiki/Science,_Industry_and_Business_Library) and by Oxford University Press (/wiki/Oxford_University_Press) . [4] (#cite_note-aia-4) [5] (#cite_note-nycland-5) In addition, Altman's Sixth Avenue building is part of the Ladies' Mile Historic District (/wiki/Ladies%27_Mile_Historic_District) created in 1989. In popular culture [ edit ] The Manhattan B. Altman store featured in the storyline of the 2017 Amazon Studios (/wiki/Amazon_Studios) television series The Marvelous Mrs. Maisel (/wiki/The_Marvelous_Mrs._Maisel) , in which the main character, Midge Maisel, takes a job on the shop floor. Exterior scenes were filmed at the store's former Fifth Avenue building, while interior scenes were shot in a disused bank in Brooklyn (/wiki/Brooklyn) . [14] (#cite_note-cntraveller-14) See also [ edit ] Companies portal (/wiki/Portal:Companies) Fashion portal (/wiki/Portal:Fashion) New York City portal (/wiki/Portal:New_York_City) List of companies based in New York City (/wiki/List_of_companies_based_in_New_York_City) List of defunct department stores of the United States (/wiki/List_of_defunct_department_stores_of_the_United_States) List of department stores of the United States (/wiki/List_of_department_stores_of_the_United_States) List of defunct retailers of the United States (/wiki/List_of_defunct_retailers_of_the_United_States) References [ edit ] ^ (#cite_ref-1) Barron, James (November 28, 2013). "B. Altman, a Store From Yesteryear, Still Makes Its Presence Felt in the City" (https://www.nytimes.com/2013/11/29/nyregion/b-altman-store-long-closed-still-makes-presence-felt.html?_r=0) . The New York Times (/wiki/The_New_York_Times) . Retrieved August 21, 2014 . And then, after a listless going-out-of-business sale that began on the day after Thanksgiving in 1989, it closed. ^ (#cite_ref-2) Barmash, Isadore (November 18, 1989). "No Bidder To Rescue B. Altman" (https://www.nytimes.com/1989/11/18/business/no-bidder-to-rescue-b-altman.html) . The New York Times . Retrieved August 21, 2014 . The closing of the stores, expected by Jan. 29, ends an era of dignified retailing in lush surroundings. ^ Jump up to: a b c Mendelsohn, Joyce (1998), Touring the Flatiron: Walks in Four Historic Neighborhoods , New York: New York Landmarks Conservancy (/wiki/New_York_Landmarks_Conservancy) , pp. 89–90, ISBN (/wiki/ISBN_(identifier)) 0-964-7061-2-1 , OCLC (/wiki/OCLC_(identifier)) 40227695 (https://www.worldcat.org/oclc/40227695) ^ Jump up to: a b c White, Norval (/wiki/Norval_White) & Willensky, Elliot (2000). AIA Guide to New York City (/wiki/AIA_Guide_to_New_York_City) (4th ed.). New York: Three Rivers Press. p. 227. ISBN (/wiki/ISBN_(identifier)) 978-0-8129-3107-5 . ^ Jump up to: a b New York City Landmarks Preservation Commission (/wiki/New_York_City_Landmarks_Preservation_Commission) ; Dolkart, Andrew S. (/wiki/Andrew_Dolkart) ; Postal, Matthew A. (2009). Postal, Matthew A. (ed.). Guide to New York City Landmarks (4th ed.). New York: John Wiley & Sons. p. 97. ISBN (/wiki/ISBN_(identifier)) 978-0-470-28963-1 . ^ (#cite_ref-6) "Altman in Will Had Three Aims; Wished to Continue Business in His Way, Benefit Employes and the City, Says Lawyer" (https://www.nytimes.com/1913/10/16/archives/altman-in-will-had-three-aims-wished-to-continue-business-in-his.html) . The New York Times . October 16, 1913. ISSN (/wiki/ISSN_(identifier)) 0362-4331 (https://www.worldcat.org/issn/0362-4331) . Retrieved September 11, 2020 . ^ (#cite_ref-7) Teltsch, Kathleen (May 13, 1984). "Charity Law May Force Sale of Altman's Store" (https://www.nytimes.com/1984/05/13/nyregion/charity-law-may-force-sale-of-altman-s-store.html) . The New York Times . ISSN (/wiki/ISSN_(identifier)) 0362-4331 (https://www.worldcat.org/issn/0362-4331) . Retrieved September 12, 2020 . ^ (#cite_ref-8) Barmash, Isadore (January 9, 1986). "Retail Operations Of Altman Are Sold" (https://www.nytimes.com/1986/01/09/business/retail-operations-of-altman-are-sold.html) . The New York Times . ISSN (/wiki/ISSN_(identifier)) 0362-4331 (https://www.worldcat.org/issn/0362-4331) . Retrieved September 12, 2020 . ^ (#cite_ref-9) "Company News; Hooker Gets Rest of Altman" (https://www.nytimes.com/1987/11/07/business/company-news-hooker-gets-rest-of-altman.html) . The New York Times . November 7, 1987. ISSN (/wiki/ISSN_(identifier)) 0362-4331 (https://www.worldcat.org/issn/0362-4331) . Retrieved September 12, 2020 . ^ (#cite_ref-10) Merin, Jennifer (November 26, 1989). "B. Altman Stores Offering Clearance Discounts: New York: After 124 years in business, the grand dame of Fifth Avenue, B. Altman & Co., is closing its doors, but only after a huge liquidation sale" (http://articles.latimes.com/1989-11-26/travel/tr-110_1_huge-liquidation-sale) . Los Angeles Times . Retrieved August 21, 2014 . The official closing date has been set for Jan. 29, 1990, but the doors may be shut before that, if merchandise and fixtures are sold off earlier. ^ (#cite_ref-11) Ravo, Nick (December 25, 1989). "At B. Altman, Christmas But No Santa" (https://www.nytimes.com/1989/12/25/nyregion/at-b-altman-christmas-but-no-santa.html?pagewanted=all) . The New York Times . Retrieved February 17, 2009 . ^ (#cite_ref-12) "Fifth Avenue Store Is Rejuvenating Its Image" (https://www.nytimes.com/1965/04/01/archives/fifth-avenue-store-is-rejuvenating-its-image.html?sq=%2522b%2520altman%2522%2520conservative&scp=6&st=cse) . The New York Times . April 1, 1965 . Retrieved February 17, 2009 . ^ (#cite_ref-13) Williams, Sarah (March 12, 1985). "B. Altman & Company" (http://www.neighborhoodpreservationcenter.org/db/bb_files/B.--Altman---Company-Department-Store-Building.pdf) (PDF) . New York City Landmarks Preservation Commission (/wiki/New_York_City_Landmarks_Preservation_Commission) . Retrieved October 11, 2019 . ^ (#cite_ref-cntraveller_14-0) Medd, James (April 24, 2018). " (https://www.cntraveller.com/gallery/the-marvelous-mrs-maisel-filmed-season-1-2-3) 'The Marvelous Mrs Maisel': where were seasons 1, 2 and 3 filmed?" (https://www.cntraveller.com/gallery/the-marvelous-mrs-maisel-filmed-season-1-2-3) . CN Traveller . Condé Nast (/wiki/Cond%C3%A9_Nast) . Archived (https://web.archive.org/web/20200312203535/https://www.cntraveller.com/gallery/the-marvelous-mrs-maisel-filmed-season-1-2-3) from the original on March 12, 2020 . Retrieved May 3, 2020 . External links [ edit ] Wikimedia Commons has media related to B. Altman and Company (https://commons.wikimedia.org/wiki/Category:B._Altman_and_Company) . Altman Foundation (http://www.altmanfoundation.org/) 1877 location (http://www.nyu.edu/classes/finearts/nyc/ladies/altman.html) New-York Historical Society (http://dlib.nyu.edu/findingaids/html/nyhs/baltman.html) Authority control databases (/wiki/Help:Authority_control) International VIAF (https://viaf.org/viaf/151428072) National United States (https://id.loc.gov/authorities/n94116998) Artists Photographers' Identities (https://pic.nypl.org/constituents/9607) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐sdkbw Cached time: 20240720165829 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.458 seconds Real time usage: 0.614 seconds Preprocessor visited node count: 2451/1000000 Post‐expand include size: 50885/2097152 bytes Template argument size: 2450/2097152 bytes Highest expansion depth: 20/100 Expensive parser function count: 8/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 71273/5000000 bytes Lua time usage: 0.283/10.000 seconds Lua memory usage: 6938720/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 530.852 1 -total 32.46% 172.313 1 Template:Reflist 22.32% 118.488 9 Template:Cite_news 18.97% 100.694 1 Template:Infobox_company 17.17% 91.169 1 Template:Authority_control 16.83% 89.343 1 Template:Infobox 13.66% 72.526 1 Template:Short_description 7.71% 40.951 2 Template:Pagetype 5.01% 26.591 1 Template:Commons_category 4.88% 25.881 1 Template:Portal Saved in parser cache with key enwiki:pcache:idhash:5692465-0!canonical and timestamp 20240720165829 and revision id 1231724232. 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Hairstyle worn by the Jurchen and Manchu peoples of Manchuria This article has multiple issues. Please help improve it (/wiki/Special:EditPage/Queue_(hairstyle)) or discuss these issues on the talk page (/wiki/Talk:Queue_(hairstyle)) . ( Learn how and when to remove these template messages (/wiki/Help:Maintenance_template_removal) ) This article may require cleanup (/wiki/Wikipedia:Cleanup) to meet Wikipedia's quality standards (/wiki/Wikipedia:Manual_of_Style) . The specific problem is: excessive repetition. Please help improve this article (/wiki/Special:EditPage/Queue_(hairstyle)) if you can. ( December 2014 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) This article may be in need of reorganization to comply with Wikipedia's layout guidelines (/wiki/Wikipedia:Manual_of_Style/Layout) . Please help by editing the article (https://en.wikipedia.org/w/index.php?title=Queue_(hairstyle)&action=edit) to make improvements to the overall structure. ( May 2020 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Queue Chinese-American men with queues in Chinatown, San Francisco (/wiki/Chinatown,_San_Francisco) , 1880s Chinese name Traditional Chinese (/wiki/Traditional_Chinese_characters) 辮子 Simplified Chinese (/wiki/Simplified_Chinese_characters) 辫子 Transcriptions Standard Mandarin (/wiki/Standard_Chinese) Hanyu Pinyin (/wiki/Hanyu_Pinyin) biànzi Yue: Cantonese (/wiki/Cantonese) Jyutping (/wiki/Jyutping) bin1 zi2 Southern Min (/wiki/Southern_Min) Hokkien (/wiki/Hokkien) POJ (/wiki/Pe%CC%8Dh-%C5%8De-j%C4%AB) pīⁿ-á (辮仔) Alternative Chinese name Traditional Chinese (/wiki/Traditional_Chinese_characters) 頭鬃尾 or 毛尾仔 Transcriptions Southern Min (/wiki/Southern_Min) Hokkien (/wiki/Hokkien) POJ (/wiki/Pe%CC%8Dh-%C5%8De-j%C4%AB) mn̂g-bué-á/mn̂g-bé-á or thâu-chang-bué/thâu-chang-bé Manchu name Manchu script (/wiki/Manchu_alphabet) ᠰᠣᠨᠴᠣᡥᠣ Romanization (/wiki/Transliterations_of_Manchu) soncoho A queue or cue is a hairstyle worn by the Jurchen (/wiki/Jurchen_people) and Manchu (/wiki/Manchu_people) peoples of Manchuria (/wiki/Manchuria) , and was later required to be worn by male subjects of Qing China (/wiki/Qing_dynasty) . [1] (#cite_note-1) [2] (#cite_note-2) [3] (#cite_note-3) [4] (#cite_note-4) [5] (#cite_note-5) Hair on top of the scalp (/wiki/Scalp) is grown long and is often braided (/wiki/Braid) , while the front portion of the head is shaved. The distinctive hairstyle led to its wearers being targeted during anti-Chinese riots (/wiki/Anti-Chinese_sentiment) in Australia (/wiki/History_of_Chinese_Australians) and the United States (/wiki/History_of_Chinese_Americans) . [6] (#cite_note-6) The edict that Han Chinese (/wiki/Han_Chinese) men and others under Manchu rule give up their traditional hairstyles and wear the queue, the Tifayifu (/wiki/Tifayifu) , was met with resistance, although opinions about the queue did change over time. Han women were never required to wear their hair in the traditional women's Manchu style, liangbatou (/wiki/Liangbatou) , although that too was a symbol of Manchu identity. [7] (#cite_note-7) Predecessors and origin [ edit ] The queue hairstyle predates the Manchus. The Chinese word for queue, bian , meant plaited hair or a cord. The term bian , when used to describe the braid in the Manchu hairstyle, was originally applied by the Han dynasty to the Xiongnu. Jurchen people (/wiki/Jurchen_people) wore a queue like the Manchu, the Khitan people (/wiki/Khitan_people) wore theirs in Tartar (/wiki/Tatars) style and during the Tang dynasty (/wiki/Tang_dynasty) , tribes in the west wore braids. [8] (#cite_note-8) [9] (#cite_note-9) The Xianbei (/wiki/Xianbei) and Wuhuan (/wiki/Wuhuan) were said to shave their heads, while Xiongnu (/wiki/Xiongnu) had queues. Other evidence from Chinese histories indicate that the Tuoba (/wiki/Tuoba) or Tabgach groups of the Xianbei wore braids, since they were called "braided" by the southern Chinese. However, their hairstyle is hidden in depictions due to a hood they wore. The Liu Song dynasty (/wiki/Liu_Song_dynasty) 's records called them "braided caitiff", suolu , while Southern Qi (/wiki/Southern_Qi) 's history said they wore their "hair hanging down the back" ( pifa ), and called them suotou , "braided". A braid of hair was found at Zhalairuoer in a Tuoba grave. [10] (#cite_note-10) Han Chinese also made the peoples they conquered undo their queues. To show submission to the Han Chinese of the Sui dynasty (/wiki/Sui_dynasty) , the people of Turfan (/wiki/Turfan) ( Gaochang (/wiki/Gaochang) ) undid their queues, as did the Göktürks (/wiki/G%C3%B6kt%C3%BCrks) upon surrendering to the Tang dynasty (/wiki/Tang_dynasty) . Hairstyles showed affiliation to a tribal confederation or dynasty. [11] (#cite_note-11) In the Western Wei (/wiki/Western_Wei) cave 285 at the Mogao Caves (/wiki/Mogao_Caves) in Dunhuang (/wiki/Dunhuang) , Xianbei people are depicted with small queues hanging from their necks. [12] (#cite_note-12) After overthrowing the Mongol Yuan dynasty, Zhu Yuanzhang (/wiki/Zhu_Yuanzhang) , the first Ming (/wiki/Ming_dynasty) emperor passed a law on mandatory hairstyle on 24 September 1392 mandating that all males grow their hair long and making it illegal for them to shave part of their foreheads while leaving strands of hair, which was the Mongol hairstyle. The penalty for both the barber and the person who was shaved and his sons was castration if they cut their hair and their families were to be sent to the borders for exile. This helped eradicate the partially shaved Mongol hairstyles. [13] (#cite_note-13) The Tangut people (/wiki/Tangut_people) of the Western Xia (/wiki/Western_Xia) may have inherited hairstyle influences from the Tuoba. It resembled a monk's hairstyle but was not exactly like their tonsure, it left the face to be framed on the sides and forehead by a fringe of hair by shaving the head top and leaving it bald. This made sure the Tibetans and Song Chinese could be told apart from shaved Tanguts. It was imposed by the Tangut emperor, Jingzong (/wiki/Emperor_Jingzong_of_Western_Xia) , threatening that their throats would be cut if they did not shave within three days. The emperor was the first one to shave. [14] (#cite_note-14) Unlike the tonsure of the Tangut Western Xia, the Jurchen hairstyle of wearing the queue combined with shaving the crown was not the invention of an emperor of the dynasty but was an established Jurchen hairstyle which showed who submitted to Jin rule. This Jurchen queue and shaving hairstyle was not enforced on the Han Chinese in the Jin after an initial attempt to do so which was a rebuke to Jurchen values. [15] (#cite_note-15) The Jin at first attempted to impose Jurchen hairstyle and clothes on the Han population during the Jin but the order was taken back. They also banned intermarriage. [16] (#cite_note-16) Khitan man in tomb painting in Aohan Banner, Inner Mongolia Manchu Jurchen men had queues, while Mongol men swept their hair behind their ears and plaited them, Turk men wore loose hair and Xiongnu men braided their hair. Khitan (/wiki/Khitan_people) males grew hair from their temples but shaved the crown of their heads. The Han Chinese men living in the Liao dynasty (/wiki/Liao_dynasty) were not required to wear the shaved Khitan hairstyle which Khitan men wore to distinguish their ethnicity, unlike the Qing dynasty which mandated wearing of the Manchu hairstyle for men. [17] (#cite_note-17) Khitan men left only two separate patches of hair on each of the forehead's sides in front of each ear in tresses while they shaved the top of their head. Khitan wore felt hats, fur clothes and woolen cloth and the Liao emperor switched between Han and Khitan clothing. [18] (#cite_note-18) Khitan officials used gold ornamented ribbons to found their hair locks around their foreheads, covering their heads with felt hats according to the Ye Longli's (Yeh Lung-li) Qidan Guozhi (Ch'i-tan kuo-chih). Khitan wore the long side fringes and shaved pates. [19] (#cite_note-19) Tomb murals of Khitan hairstyle show only some hair remaining near the neck and forehead with the rest of the head shaved. [20] (#cite_note-20) Only at the temples were hair left while the crown was shaven. [21] (#cite_note-21) The absence of Khitan clothes and hairstyles on a painting of riders previously identified as Khitan has led to experts questioning their purported identity. [22] (#cite_note-22) Khitan men might have differentiate between classes by wearing different patterns on their small braids hanging off their shaved foreheads. They wore the braids occasionally with a forehead fringe with some shaving off all the forehead. [23] (#cite_note-23) Some Han men adopted and mixed or combined Han clothing with Khitan clothing with Khitan boots and Han clothes or wearing Khitan clothes. Han women on the other hand did not adopt Khitan dress and continued wearing Han dress. [24] (#cite_note-24) [25] (#cite_note-25) Yelü Bei (/wiki/Yel%C3%BC_Bei) Horsemen Horsemen at rest Hunters Cooks Boys and girls Hairstyle Jurchen queue [ edit ] Jurchen (/wiki/Jurchen_people) men, like their Manchu descendants, wore their hair in queues. In 1126, the Jurchen ordered male Han (/wiki/Han_Chinese) within their conquered territories to adopt the Jurchen hairstyle by shaving the front of their heads and to adopt Jurchen dress, but the order was lifted. [26] (#cite_note-FOOTNOTE张博泉_(Zhang_Boquan)198497–98-26) Some Han rebels impersonated Jurchen by wearing their hair in the Jurchen "pigtail" to strike fear within the Jurchen population. [27] (#cite_note-27) Manchu queue [ edit ] Manchu queues A European artist's conception of a Manchu warrior in China – surprisingly, holding the severed head of an enemy by its queue. Later historians have noted the queue looking more like Cossack (/wiki/Cossacks) chupryna (/wiki/Oseledets) as an inconsistency in the picture. (From the cover of Martino Martini (/wiki/Martino_Martini) 's Regni Sinensis a Tartari devastati enarratio , 1661.) The queue was a specifically male hairstyle (/wiki/Hairstyle) worn by the Manchu (/wiki/Manchu_people) from central Manchuria (/wiki/Manchuria) and later imposed on the Han Chinese (/wiki/Han_Chinese) during the Qing dynasty (/wiki/Qing_dynasty) . [28] (#cite_note-28) [29] (#cite_note-29) [30] (#cite_note-30) The hair on the front of the head was shaved off above the temples every ten days and the remainder of the hair was braided into a long braid. [31] (#cite_note-31) The Manchu hairstyle was forcefully introduced to Han Chinese and other ethnicities like the Nanai in the early 17th century during the transition from Ming to Qing (/wiki/Transition_from_Ming_to_Qing) . Nurhaci (/wiki/Nurhaci) of the Aisin Gioro (/wiki/Aisin_Gioro) clan declared the establishment of the Later Jin dynasty, later becoming the Qing dynasty of China, after Ming dynasty (/wiki/Ming_dynasty) forces in Liaodong (/wiki/Liaodong) defected to his side. The Ming general of Fushun (/wiki/Fushun) , Li Yongfang, defected to Nurhaci after Nurhaci promised him rewards, titles, and Nurhaci's own granddaughter in marriage. Other Han Chinese generals in Liaodong proceeded to defect with their armies to Nurhaci and were given women from the Aisin Gioro (/wiki/Aisin_Gioro) family in marriage. Once firmly in power, Nurhaci commanded all men in the areas he conquered to adopt the Manchu hairstyle. The Manchu hairstyle signified all ethnic groups submission to Qing rule, and also aided the Manchu identification of those Han who refused to accept Qing dynasty domination. The hairstyle was compulsory for all males and the penalty for non-compliance was execution for treason (/wiki/Treason) . After the fall of the Qing dynasty in 1912, the Chinese no longer had to wear the Manchu queue. While some, such as Zhang Xun (/wiki/Zhang_Xun_(Qing_loyalist)) , still did so as a tradition, most of them abandoned it after the last Emperor of China (/wiki/Emperor_of_China) , Puyi (/wiki/Puyi) , cut his queue in 1922. [32] (#cite_note-32) The Nanais at first fought against the Nurhaci and the Manchus, led by their own Nanai Hurka chief Sosoku before surrendering to Hongtaiji (/wiki/Hongtaiji) in 1631. Mandatory shaving of the front of all male heads was imposed on Amur peoples like the Nanai people (/wiki/Nanai_people) who were conquered by the Qing. The Amur peoples already wore the queue on the back of their heads but did not shave the front until the Qing subjected them and ordered them to shave. [33] (#cite_note-33) The term "shaved-head people" was used to describe the Nanai people (/wiki/Nanai_people) by Ulch people (/wiki/Ulch_people) . [34] (#cite_note-34) Queue order [ edit ] See also: Tifayifu (/wiki/Tifayifu) Chinese circus performers soon after the Manchu conquest, wearing queues. (Drawing by Johan Nieuhof (/wiki/Johan_Nieuhof) , 1655–57) The Queue Order ( simplified Chinese (/wiki/Simplified_Chinese_characters) : 剃发令 ; traditional Chinese (/wiki/Traditional_Chinese_characters) : 剃髮令 ; pinyin (/wiki/Pinyin) : tìfàlìng ), [35] (#cite_note-Santangelo2013-35) [36] (#cite_note-Rawski1998-36) or tonsure (/wiki/Tonsure) decree , was a series of laws violently imposed by the Qing dynasty (/wiki/Qing_dynasty) during the seventeenth century. It was also imposed on Taiwanese indigenous peoples (/wiki/Taiwanese_indigenous_peoples) in 1753, [37] (#cite_note-37) [38] (#cite_note-38) and Koreans who settled in northeast China (/wiki/Koreans_in_China) in the late 19th century, [39] (#cite_note-39) [40] (#cite_note-40) though the Ryukyuan people (/wiki/Ryukyuan_people) of the Ryukyu Kingdom (/wiki/Ryukyu_Kingdom) , a tributary of China (/wiki/Tributary_system_of_China) , requested and were granted an exemption from the mandate. Traditionally, adult Han Chinese (/wiki/Han_Chinese) did not cut their hair for philosophical and cultural reasons. According to the Classic of Filial Piety (/wiki/Classic_of_Filial_Piety) , Confucius (/wiki/Confucius) said: We are given our body, skin and hair from our parents; which we ought not to damage. This idea is the quintessence of filial duty. ( 身體髮膚，受之父母，不敢毀傷，孝之始也。 ) [41] (#cite_note-41) As a result of this ideology, both men and women wound their hair into a bun (a topknot (/wiki/Hanfu#Headwear_and_hairstyles) ) or other various hairstyles. Han Chinese did not object to wearing the queue braid on the back of the head as they traditionally wore all their hair long, but fiercely objected to shaving the forehead so the Qing government exclusively focused on forcing people to shave the forehead rather than wear the braid. Han rebels in the first half of the Qing who objected to Qing hairstyle wore the braid but defied orders to shave the front of the head. One person was executed for refusing to shave the front but he had willingly braided the back of his hair. It was only later that westernized revolutionaries began to view the braid as backwards and advocated adopting short-haired western styles. [42] (#cite_note-42) Han rebels against the Qing like the Taiping retained their queue braids on the back but rebelled by growing hair on the front of their heads. This caused the Qing government to view shaving the front of the head as the primary sign of loyalty rather than wearing the braid on the back, which did not violate Han customs and traditional Han did not object to. [43] (#cite_note-43) Koxinga (/wiki/Koxinga) criticized the Qing hairstyle by referring to the shaven pate looking like a fly. [44] (#cite_note-44) Koxinga and his men objected to shaving when the Qing demanded they shave in exchange for recognizing Koxinga as a feudatory. [45] (#cite_note-45) The Qing demanded that Zheng Jing (/wiki/Zheng_Jing) and his men on Taiwan shave to receive recognition as a fiefdom. His men and Ming prince Zhu Shugui (/wiki/Zhu_Shugui) fiercely objected to shaving. [46] (#cite_note-46) A soldier during the Boxer Rebellion (/wiki/Boxer_Rebellion) with queue and conical Asian hat (/wiki/Conical_Asian_hat) In 1644, Beijing was sacked by a coalition of rebel forces led by Li Zicheng (/wiki/Li_Zicheng) , a minor Ming dynasty official turned leader of a peasant revolt. The Chongzhen Emperor (/wiki/Chongzhen_Emperor) committed suicide when the city fell, marking the official end of the Ming dynasty. The Han Chinese Ming general Wu Sangui (/wiki/Wu_Sangui) and his army then defected to the Qing and allowed them through Shanhai pass. They then seized control of Beijing, overthrowing Li's short-lived Shun dynasty (/wiki/Shun_dynasty) . They then forced Han Chinese to adopt the queue as a sign of submission. [47] (#cite_note-KuhnPhilip-47) A year later, after the Qing armies reached South China (/wiki/Northern_and_southern_China) , on 21 July, 1645, the regent Dorgon (/wiki/Dorgon) issued an edict ordering all Han men to shave their foreheads and braid the rest of their hair into a queue identical to those worn by the Manchus. [48] (#cite_note-48) Qing Manchu prince Dorgon initially canceled the order for all men in Ming territories south of the Great wall (post 1644 additions to the Qing) to shave. It was a Han official from Shandong, Sun Zhixie and Li Ruolin who voluntarily shaved their foreheads and demanded Qing Prince Dorgon impose the queue hairstyle on the entire population which led to the queue order. [49] (#cite_note-FOOTNOTEWakeman1985868-49) [50] (#cite_note-50) The Han Chinese were given 10 days to comply or face death. Though Dorgon admitted that followers of Confucianism (/wiki/Confucianism) might have grounds for objection, most Han officials cited the Ming dynasty's traditional System of Rites and Music as their reason for resistance. This led Dorgon to question their motives: "If officials say that people should not respect our Rites and Music, but rather follow those of the Ming, what can be their true intentions?" [47] (#cite_note-KuhnPhilip-47) In the edict, Dorgon specifically emphasized the fact that Manchus and the Qing Emperor himself all wore the queue and shaved their foreheads, so that by following the queue order, Han Chinese would look like the Manchus and the Emperor. This invoked the Confucian notion that the people were like the sons of the emperor, and should be similar in their appearance. [51] (#cite_note-51) [52] (#cite_note-52) [53] (#cite_note-FOOTNOTEWakeman1985[httpsarchiveorgdetailsbub_gb_8nXLwSG2O8ACpagen658_647],_[httpsarchiveorgdetailsbub_gb_8nXLwSG2O8ACpagen661_650]-53) The slogan adopted by the Qing (/wiki/Qing_dynasty) was "Cut the hair and keep the head, (or) keep the hair and cut the head" ( Chinese (/wiki/Chinese_language) : 留髮不留頭，留頭不留髮 ; pinyin (/wiki/Pinyin) : liú fà bù liú tóu, liú tóu bù liú fà ). [54] (#cite_note-54) People who resisted the order were met with deadly force. Han (/wiki/Han_Chinese) rebels in Shandong (/wiki/Shandong) tortured the Qing (/wiki/Qing_dynasty) official who suggested the queue order to Dorgon (/wiki/Dorgon) to death and killed his relatives. [55] (#cite_note-55) The imposition of this order was not uniform; it took up to 10 years of martial enforcement for all of China to be brought into compliance, and while it was the Qing who imposed the queue hairstyle on the general population, they did not always personally execute those who did not obey. It was Han Chinese defectors (/wiki/Transition_from_Ming_to_Qing#Massacres) who carried out massacres against people refusing to wear the queue. Li Chengdong (/w/index.php?title=Li_Chengdong&action=edit&redlink=1) , a Han Chinese general who had served the Ming but defected to the Qing, [56] (#cite_note-FOOTNOTEFaure2007164-56) ordered troops to carry out three separate massacres in the city of Jiading (/wiki/Jiading) within a month, resulting in tens of thousands of deaths. The third massacre left few survivors. [57] (#cite_note-FOOTNOTEEbrey1993[[Category:Wikipedia_articles_needing_page_number_citations_from_October_2010]]<sup_class="noprint_Inline-Template_"_style="white-space:nowrap;">[<i>[[Wikipedia:Citing_sources|<span_title="This_citation_requires_a_reference_to_the_specific_page_or_range_of_pages_in_which_the_material_appears. (October_2010)">page needed</span>]]</i>]</sup>-57) The three massacres at Jiading District (/wiki/Jiading_District) are some of the most infamous, with estimated death tolls in the tens or even hundreds of thousands. [58] (#cite_note-FOOTNOTEEbrey1993271-58) Jiangyin (/wiki/Jiangyin) also held out against about 10,000 Qing troops for 83 days. When the city wall was finally breached on 9 October, 1645, the Qing army, led by the Han Chinese Ming defector Liu Liangzuo (/w/index.php?title=Liu_Liangzuo&action=edit&redlink=1) (劉良佐), who had been ordered to "fill the city with corpses before you sheathe your swords," massacred the entire population, killing between 74,000 and 100,000 people. [59] (#cite_note-59) Han Chinese soldiers in 1645 under Han General Hong Chengchou (/wiki/Hong_Chengchou) forced the queue on the people of Jiangnan (/wiki/Jiangnan) , while Han people were initially paid silver to wear the queue in Fuzhou (/wiki/Fuzhou) when it was first implemented. [60] (#cite_note-chinaheritagequarterly.org-60) [61] (#cite_note-Doolittle1876_2-61) The queue was the only aspect of Manchu culture that the Qing forced on the common Han population. The Qing required people serving as officials to wear Manchu clothing (/w/index.php?title=Manchu_clothing&action=edit&redlink=1) , but allowed other Han civilians to continue wearing Hanfu (/wiki/Hanfu) (Han clothing). Nevertheless, most Han civilian men voluntarily adopted Manchu clothing [62] (#cite_note-Rhoads2000-62) [63] (#cite_note-63) like Changshan (/wiki/Changshan) of their own free will. Throughout the Qing dynasty Han women continued to wear Han clothing. [64] (#cite_note-64) However, the shaving policy was not enforced in the Tusi (/wiki/Tusi) autonomous chiefdoms in Southwestern China where many minorities lived. There was one Han Chinese Tusi, the Chiefdom of Kokang (/wiki/Chiefdom_of_Kokang) populated by Han Kokang people (/wiki/Kokang_people) . The Qing dynasty required all subjects of all ethnicities to shave their foreheads and wear the queue braid including Muslims like Hui people (/wiki/Hui_people) and Salar people but some Turkic Muslim ethnicities like Uyghur (/wiki/Uyghur_people) and Salar people (/wiki/Salar_people) already shaved their entire heads as part of their culture and were bald so they were not able to wear the braids on the back unless they wore wigs with fake queues. According to Jonathan Neaman Lipman the Qing dynasty required Salars to wear the queue. [65] (#cite_note-65) [66] (#cite_note-66) [67] (#cite_note-67) During the Qing Salar men shaved their hair bald while when they went to journey in public they put on artificial queues. [68] (#cite_note-68) Uyghur men shaved their hair bald during the Qing. [69] (#cite_note-CrossleySiu2006-69) Uyghur males at the present still shave their heads bald in the summer. [70] (#cite_note-70) Chen Cheng (/wiki/Chen_Cheng_(Ming_dynasty)) observed that Muslim Turks in 14th–15th century Turfan and Kumul shaved their heads while non-Muslim Turks grew long hair. [71] (#cite_note-71) [72] (#cite_note-72) However, after Jahangir Khoja (/wiki/Jahangir_Khoja) invaded Kashgar (/wiki/Kashgar) , Turkistani Muslim begs (/wiki/Baig) and officials in Xinjiang eagerly fought for the "privilege" of wearing a queue to show their steadfast loyalty to the Empire. High-ranking begs were granted this right. [73] (#cite_note-Millward1998-73) The purpose of the Queue Order was to demonstrate loyalty to the Qing, and refusing to shave one's hair came to symbolize revolutionary ideals, as seen during the White Lotus Rebellion (/wiki/White_Lotus_Rebellion) . Because of this, the members of the Taiping Rebellion (/wiki/Taiping_Rebellion) were sometimes called the Long hairs (/w/index.php?title=Long_hairs&action=edit&redlink=1) ( 長毛 ) or Hair rebels ( 髮逆 ). [74] (#cite_note-74) Resistance to the queue [ edit ] Han Chinese resistance to adopting the queue was widespread and bloody. The Chinese in the Liaodong Peninsula (/wiki/Liaodong_Peninsula) rebelled in 1622 and 1625 in response to the implementation of the mandatory hairstyle. The Manchus responded swiftly by killing the educated elite and instituting a stricter separation between Han Chinese and Manchus. [75] (#cite_note-taiwanus-75) In 1645, the enforcement of the queue order was taken a step further by the ruling Manchus when it was decreed that any man who did not adopt the Manchu hairstyle within ten days would be executed. The intellectual Lu Xun (/wiki/Lu_Xun) summed up the Chinese reaction to the implementation of the mandatory Manchu hairstyle by stating, "In fact, the Chinese people in those days revolted not because the country was on the verge of ruin, but because they had to wear queues." In 1683 Zheng Keshuang (/wiki/Zheng_Keshuang) surrendered and wore a queue. [75] (#cite_note-taiwanus-75) The queue became a symbol of the Qing dynasty and a custom except among Buddhist monastics (/wiki/Bhikkhu) . [76] (#cite_note-76) [77] (#cite_note-77) [78] (#cite_note-78) Some revolutionists, supporters of the Hundred Days' Reform (/wiki/Hundred_Days%27_Reform) or students who studied abroad cut their braids. The Xinhai Revolution (/wiki/Xinhai_Revolution) in 1911 led to a complete change in hairstyle almost overnight. The queue became unpopular as it became associated with a fallen government (/wiki/Failed_state) ; this is depicted in Lu Xun (/wiki/Lu_Xun) 's short story Storm in a Teacup (/wiki/Storm_in_a_Teacup_(short_story)) and is demonstrated by the fact that Chinese citizens in Hong Kong collectively changed to short haircuts. [79] (#cite_note-79) Cantonese outlaw bandit pirates in the Guangdong maritime frontier with Vietnam in the 17th, 18th and 19th centuries wore their hair long in defiance of the Qing laws which mandated cutting. [80] (#cite_note-80) Many people were violating the Qing laws on hair at the end of the dynasty. Some Chinese chose to wear the queue but not to shave their crown, while those people who cut the queue off and did not shave were considered revolutionary (/wiki/1911_Revolution) and others maintained the state-mandated combination of the queue and shaved crown. [81] (#cite_note-81) Exemptions [ edit ] Neither Taoist priests nor Buddhist monks were required to wear the queue by the Qing; they continued to wear their traditional hairstyles, completely shaved heads for Buddhist monks, and long hair in the traditional Chinese topknot for Taoist priests. [82] (#cite_note-82) [83] (#cite_note-83) [84] (#cite_note-Cockburn1896-84) Foreign reaction [ edit ] Barbershop in the Qing Dynasty (1870s) The Manchus' willingness to impose the queue and their dress style on the men of China was viewed as an example to emulate by some foreign observers. H. E. M. James (/wiki/H._E._M._James) , a British civil servant (/wiki/Indian_Civil_Service) in India (/wiki/British_Raj) , wrote in 1887 that the British ought to act in a similarly decisive way when imposing their will in India. In his view, the British administration should have outlawed practises such as Sati (/wiki/Sati_(practice)) much earlier than 1829, which James ascribed to a British unwillingness to challenge long-held Indian traditions, no matter how detrimental they were to the country. [85] (#cite_note-85) British author Demetrius Charles Boulger (/wiki/Demetrius_Charles_Boulger) in 1899 proposed that Britain form and head an alliance of "Philo-Chinese Powers" in setting up a new government for China based in Shanghai and Nanking (/wiki/Nanjing) as two capitals along the River Yangtze (/wiki/Yangtze) , to counter the interests of other powers in the region like the Russians (/wiki/Russian_Empire) due to what he believed was the imminent collapse of the Qing dynasty. The Yangtze valley was controlled by Qing officials such as Liu Kunyi (/wiki/Liu_Kunyi) and Zhang Zhidong (/wiki/Zhang_Zhidong) , who were not under Beijing's influence and whom Boulger believed Britain could work with to stabilize China. He proposed that at Nanjing and Hankou a force of Chinese soldiers trained by the British be deployed and in Hong Kong (/wiki/British_Hong_Kong) , Weihaiwei (/wiki/Weihaiwei) and the Yangtze valley and it would have no allegiance to the Qing, and as such they in his idea would forgo the queue and be made to grow their hair long as a symbolic measure to "increasing the confidence of the Chinese in the advent of a new era". [86] (#cite_note-86) [87] (#cite_note-87) Boulger stated he could not discern from the Chinese he spoke to on whether the queue was invented by Nurhaci to impose on the Chinese as a symbol of loyalty or whether it was an already established Manchu custom as no one seemed to know the origin of it from his or other sinologists' inquiries. [88] (#cite_note-88) English adventurer Augustus Frederick Lindley (/wiki/Augustus_Frederick_Lindley) wrote that the beardless, youthful long haired Han Chinese rebels from Hunan (/wiki/Hunan) in the Taiping armies (/wiki/Taiping_Rebellion) who grew all their hair long while fighting against the Qing dynasty were among the most beautiful men in the world unlike, in his mind, the Han Chinese who wore the queue, with Lindley calling the shaved part "a disfigurement". [89] (#cite_note-89) Vietnam [ edit ] Main article: Ohaguro § Elsewhere (/wiki/Ohaguro#Elsewhere) After Nguyễn Huệ defeated the Later Lê dynasty (/wiki/Later_L%C3%AA_dynasty) , high ranking Lê loyalists and the last Lê emperor Lê Chiêu Thống (/wiki/L%C3%AA_Chi%C3%AAu_Th%E1%BB%91ng) fled Vietnam for asylum in Qing China. They went to Beijing where Lê Chiêu Thống was appointed a Chinese mandarin of the fourth rank in the Han Yellow Bordered Banner (/wiki/Han_Eight_Banners) , while lower ranking loyalists were sent to cultivate government land and join the Green Standard Army (/wiki/Green_Standard_Army) in Sichuan and Zhejiang (/wiki/Zhejiang) . They adopted Qing clothing and adopt the queue hairstyle, effectively becoming naturalized subjects of the Qing dynasty affording them protection against Vietnamese demands for extradition. Some Lê loyalists were also sent to Central Asia in Urumqi (/wiki/Urumqi) . [90] (#cite_note-90) [91] (#cite_note-91) Modern descendants of the Lê monarch can be traced to southern Vietnam and Urumqi (/wiki/Urumqi) , Xinjiang. [92] (#cite_note-92) [93] (#cite_note-93) [94] (#cite_note-94) Other queues [ edit ] Curley Bear with queued hair Native American [ edit ] The queue is also a Native American hairstyle, as described in the book House Made of Dawn (/wiki/House_Made_of_Dawn) by N. Scott Momaday (/wiki/N._Scott_Momaday) . Western [ edit ] A Spanish soldier wearing a queue (1761) In the 18th century, European soldiers styled their traditionally long hair into a queue called the "soldier's queue." The 18th century custom of tying periwigs (which normally reached down the back and chest) behind the neck began among soldiers and hunters, as seen as early as 1678 in a depiction of King Louis XIV (/wiki/Louis_XIV) hunting with his hair tied back. [95] (#cite_note-95) [96] (#cite_note-96) By the 1730s, the queue had spread from the military and became widespread among civilians. [97] (#cite_note-97) A 1697 depiction of a royal guard during the wedding of the Duke of Burgundy shows the sporting of this hairstyle, which came to influence civilian fashions due to the frequent wars France engaged in during Louis' reign. The queue, either curled or covered with a silk bag (known as a bag wig), gradually replaced the unwieldy big wigs and remained important to men's fashion until the French Revolution (/wiki/French_Revolution) . [98] (#cite_note-98) For civilian men, the tyewig (a wig tied into a queue) and the bag wig became widespread after the death of Louis XIV; wigs that did not feature a queue such as the bob wig were favoured by those who could not afford a long wig. The type of wig became an indicator of one's rank, occupation and political leanings. [99] (#cite_note-99) The French army plaited their wigs into a short queue (the French word for "tail") tied with a ribbon in the back, while the British military used the Ramillies wig, which featured a very long queue tied with two black ribbons, one at the neck and one at the tail end. [100] (#cite_note-100) The French army continued keeping queues until the French Consulate (/wiki/French_Consulate) period, when Napoleon and other officers promoted close cropped hair, known as à la Titus (/wiki/Titus_haircut) . However, hair policy in the French army was not uniform; some regiments such as the Imperial Guard foot grenadiers stuck to queues long afterwards, while the 2nd Line Infantry kept their queues as late as 1812. Short hair only became mandated at the end of the First Empire (/wiki/First_French_Empire) with the ordinance of 25 September 1815. [101] (#cite_note-101) Marshal Jean Lannes (/wiki/Jean_Lannes) notably stood out due to his refusal to cut his queue. [102] (#cite_note-102) [103] (#cite_note-103) British soldiers and sailors during the 18th century also wore their hair in a queue. While not always braided, the hair was pulled back very tight into a single tail, wrapped around a piece of leather and tied down with a ribbon. The hair was often greased and powdered in a fashion similar to powdered wigs (/wiki/Wig#18th_century) , or tarred in the case of sailors. It was said that the soldiers' hair was pulled back so tightly that they had difficulty closing their eyes afterwards. The use of white hair powder in the British Army was discontinued in 1796 and queues were ordered to be cut off four years later. [104] (#cite_note-104) They continued to be worn in the Royal Navy (/wiki/Royal_Navy) for a while longer, where they were known as " pigtails (/wiki/Pigtail) ". Officers wore pigtails until 1805 and other ranks continued to wear them until about 1820. [105] (#cite_note-105) In the Prussian Army (/wiki/Prussian_Army) and those of several other states within the Holy Roman Empire (/wiki/Holy_Roman_Empire) , the soldier's queue was mandatory under the reign of Frederick William I of Prussia (/wiki/Frederick_William_I_of_Prussia) . An artificial or "patent" queue was issued to recruits whose hair was too short to plait. The style was abolished in the Prussian Army in 1807. [106] (#cite_note-106) In the United States Army (/wiki/United_States_Army) , the order to remove all queues was issued on 30 April 1801 by Major General James Wilkinson (/wiki/James_Wilkinson) . The order was highly unpopular with both officers and men, leading to several desertions and threats of resignation. One senior officer, Lieutenant Colonel Thomas Butler (/wiki/Thomas_Butler_(soldier)) , was eventually court-martialled (/wiki/Court-martial) in 1803 for failing to cut his hair. [107] (#cite_note-107) See also [ edit ] China portal (/wiki/Portal:China) Fashion portal (/wiki/Portal:Fashion) History portal (/wiki/Portal:History) Beard and haircut laws by country (/wiki/Beard_and_haircut_laws_by_country) Braid (/wiki/Braid) Cheongsam (/wiki/Cheongsam) Chupryna (/wiki/Czupryna) Foot binding (/wiki/Foot_binding) Hanfu (/wiki/Hanfu) List of hairstyles (/wiki/List_of_hairstyles) Mohawk (/wiki/Mohawk_(hairstyle)) Pigtail (/wiki/Pigtail) Pigtail Ordinance (/wiki/Pigtail_Ordinance) Rattail (haircut) (/wiki/Rattail_(haircut)) Sikha (/wiki/Sikha) References [ edit ] ^ (#cite_ref-1) Evans, Thammy (2006). Great Wall of China: Beijing & Northern China . Bradt Travel Guide Great Wall of China. Bradt Travel Guides. p. 41. ISBN (/wiki/ISBN_(identifier)) 1841621587 . ^ (#cite_ref-2) University of Hawaii at Manoa Art Gallery; Chazen Museum of Art; Museum of International Folk Art (N.M.); Evergrand Art Museum (Taoyuan, Taiwan) (2009). Writing with Thread: Traditional Textiles of South Minorities : a Special Exhibition from the Collection of Huang Ying Feng and the Evergrand Art Museum in Taoyuan, Taiwan . University of Hawai'i Art Gallery. p. 118. ISBN (/wiki/ISBN_(identifier)) 978-0982033210 . ^ (#cite_ref-3) Ebrey, Patricia Buckley; Walthall, Anne; Palais, James B. (2006). Pre-modern East Asia: To 1800: A Cultural, Social, and Political History . Houghton Mifflin. p. 370. ISBN (/wiki/ISBN_(identifier)) 0618133860 . ^ (#cite_ref-4) Millward, James (1998). Beyond the Pass: Economy, Ethnicity, and Empire in Qing Central Asia, 1759–1864 (illustrated ed.). Stanford University Press. p. 305. ISBN (/wiki/ISBN_(identifier)) 0804729336 . ^ (#cite_ref-5) Bromber, Katrin; Krawietz, Birgit; Maguire, Joseph, eds. (2013). Sport Across Asia: Politics, Cultures, and Identities . Vol. 21 (illustrated ed.). Routledge (/wiki/Routledge) . p. 53. ISBN (/wiki/ISBN_(identifier)) 978-0415884389 . ^ (#cite_ref-6) "Hairy History" (https://www.theworldofchinese.com/2019/07/hairy-history/) . ^ (#cite_ref-7) Pyun, Kyunghee; Wong, Aida Yuen (2018). Fashion, Identity, and Power in Modern Asia . Springer. ISBN (/wiki/ISBN_(identifier)) 978-3319971995 . ^ (#cite_ref-8) East Asian History . 1994. p. 54. ^ (#cite_ref-9) Godley, Michael R. (December 1994). "The End of the Queue: Hair as a Symbol in Chinese History" (http://www.eastasianhistory.org/sites/default/files/article-content/08/EAH08_03.pdf) (PDF) . East Asian History (8). ^ (#cite_ref-10) Kuwayama, George (/wiki/George_Kuwayama) (1991). Ancient Mortuary Traditions of China: Papers on Chinese Ceramic Funerary Sculptures . Far Eastern Art Council, Los Angeles County Museum of Art. p. 59. ISBN (/wiki/ISBN_(identifier)) 978-0-87587-157-8 . ^ (#cite_ref-11) Abramson, Marc Samuel (2005). "4 Deep Eyes and High Noses : Physiognomy and the depiction of barbarians in Tang China" (https://books.google.com/books?id=Y1mQAgAAQBAJ&pg=PA126) . In Di Cosmo, Nicola; Wyatt, Don J (eds.). Political Frontiers, Ethnic Boundaries and Human Geographies in Chinese History (illustrated ed.). Routledge. pp. 126, 127. ISBN (/wiki/ISBN_(identifier)) 1135790957 . ^ (#cite_ref-12) Duan, Wenjie; Kapila Vatsyayan (1994). Tan, Chung (ed.). Dunhuang Art: Through the Eyes of Duan Wenjie . Indira Gandhi National Centre for the Arts. p. 118. ISBN (/wiki/ISBN_(identifier)) 8170173132 . ^ (#cite_ref-13) Chan, Hok-Lam (2009). "Ming Taizu's 'Placards' on Harsh Regulations and Punishments Revealed in Gu Qiyuan's 'Kezuo Zhuiyu.' (https://www.jstor.org/stable/41649963) " (https://www.jstor.org/stable/41649963) . Asia Major . 22 (1): 28. JSTOR (/wiki/JSTOR_(identifier)) 41649963 (https://www.jstor.org/stable/41649963) . Retrieved 16 April 2021 . ^ (#cite_ref-14) Keay, John (2011). China: A History . Basic Books. p. 312. ISBN (/wiki/ISBN_(identifier)) 978-0-465-02518-3 . ^ (#cite_ref-15) Keay, John (2011). China: A History . Basic Books. p. 335. ISBN (/wiki/ISBN_(identifier)) 978-0-465-02518-3 . ^ (#cite_ref-16) Franke, Herbert (/wiki/Herbert_Franke_(sinologist)) ; Twitchett, Denis C. (/wiki/Denis_C._Twitchett) (1994). The Cambridge History of China: Volume 6, Alien Regimes and Border States, 907–1368 . Cambridge University Press. ISBN (/wiki/ISBN_(identifier)) 978-0-521-24331-5 . ^ (#cite_ref-17) Tackett, Nicolas (2017). The Origins of the Chinese Nation: Song China and the Forging of an East Asian World Order . Cambridge University Press. p. 241. ISBN (/wiki/ISBN_(identifier)) 978-1108186926 . ^ (#cite_ref-18) Zhu, Ruixi; Zhang, Bangwei; Liu, Fusheng; Cai, Chongbang; Wang, Zengyu (2016). A Social History of Medieval China . The Cambridge China Library. Bang Qian Zhu (translator), Peter Ditmanson (contributor) (illustrated ed.). Cambridge University Press. p. 34. 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Conflict and Commerce in Maritime East Asia: The Zheng Family and the Shaping of the Modern World, c. 1620–1720 . Cambridge University Press. p. 86. ISBN (/wiki/ISBN_(identifier)) 978-1316453841 . ^ (#cite_ref-46) Hang, Xing (2016). Conflict and Commerce in Maritime East Asia: The Zheng Family and the Shaping of the Modern World, c. 1620–1720 . Cambridge University Press. p. 187. ISBN (/wiki/ISBN_(identifier)) 978-1316453841 . ^ Jump up to: a b Kuhn, Philip A. (1990). Soulstealers: The Chinese Sorcery Scare of 1768 . Harvard University Press. pp. 53–54. ^ (#cite_ref-48) Wakeman (1985) (#CITEREFWakeman1985) , p. 647; Struve (1988) (#CITEREFStruve1988) , p. 662; Dennerline (2002) (#CITEREFDennerline2002) , p. 87 which calls this edict "the most untimely promulgation of [Dorgon's] career." ^ (#cite_ref-FOOTNOTEWakeman1985868_49-0) Wakeman 1985 (#CITEREFWakeman1985) , p. 868. ^ (#cite_ref-50) Lui, Adam Yuen-chung (1989). Two Rulers in One Reign: Dorgon and Shun-chih, 1644–1660 . Faculty of Asian Studies monographs // The Australian National University (illustrated ed.). Faculty of Asian Studies, Australian National University. p. 37. ISBN (/wiki/ISBN_(identifier)) 0731506545 . Dorgon did not want to see anything go wrong in a province and this might be the main reason why the government ... When the Chinese were ordered to wear the queue , Sun and Li took the initiative in changing their Ming hairstyle to ... ^ (#cite_ref-51) Cheng, Weikun (1998). "6 politics of the queue: agitation and resistance in the beginning and end of qing china" (https://books.google.com/books?id=PRPymT12c40C&pg=PA125) . In Hiltebeitel, Alf; Miller, Barbara D. (eds.). Hair: Its Power and Meaning in Asian Cultures (illustrated ed.). SUNY Press. p. 125. ISBN (/wiki/ISBN_(identifier)) 0791437418 . ^ (#cite_ref-52) Hang, Xing (2016). "2 From smuggler-pirates to loyal Confucians" (https://books.google.com/books?id=tQ10CwAAQBAJ&pg=PA40) . 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ISBN (/wiki/ISBN_(identifier)) 9781566632799 . ^ (#cite_ref-96) Francis Michael Kelly, Randolph Schwabe (2002). European Costume and Fashion, 1490–1790 . Dover Publications. p. 168. ISBN (/wiki/ISBN_(identifier)) 9780486423227 . ^ (#cite_ref-97) Heather Vaughan Lee, José Blanco F., Mary Doering, Patricia Kay Hunt-Hurst (2015). Clothing and Fashion [4 Volumes] American Fashion from Head to Toe [4 Volumes] . ABC-CLIO. p. 135. ISBN (/wiki/ISBN_(identifier)) 9781610693103 . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: multiple names: authors list ( link (/wiki/Category:CS1_maint:_multiple_names:_authors_list) ) ^ (#cite_ref-98) Mark Ledbury, Robert Wellington (2020). The Versailles Effect: Objects, Lives, and Afterlives of the Domaine . Bloomsbury Publishing USA. p. 98. ISBN (/wiki/ISBN_(identifier)) 9781501357763 . ^ (#cite_ref-99) Lynn Festa (2005). "Personal Effects: Wigs and Possessive Individualism in the Long Eighteenth Century". Eighteenth-Century Life . 29 (2): 59. ^ (#cite_ref-100) Beverly Chico (2013). Hats and Headwear Around the World A Cultural Encyclopedia . ABC-CLIO. p. 484. ISBN (/wiki/ISBN_(identifier)) 9781610690638 . ^ (#cite_ref-101) Terry Crowdy (2015). Napoleon's Infantry Handbook An Essential Guide to Life in the Grand Army . Pen & Sword Military. p. 78. ISBN (/wiki/ISBN_(identifier)) 9781783462957 . ^ (#cite_ref-102) R. F. Delderfield (2002). Napoleon's Marshals . Cooper Square Press. p. 74. ISBN (/wiki/ISBN_(identifier)) 9781461661191 . ^ (#cite_ref-103) Janice Best (2023). Power and Propaganda in French Second Empire Theatre Playing Napoleon . Cambridge Scholars Publishing. p. 237. ISBN (/wiki/ISBN_(identifier)) 9781527500914 . ^ (#cite_ref-104) Stocqueler, Joachim Hayward (1871) A Familiar History of the British Army, from the Restoration in 1660 to the Present Time , Edward Stanford, London (pp. 103–104) ^ (#cite_ref-105) Wilkinson-Latham, Robert (1977) The Royal Navy, 1790–1970 Osprey Publishing, ISBN (/wiki/ISBN_(identifier)) 0-85045-248-1 (/wiki/Special:BookSources/0-85045-248-1) (p. 34) ^ (#cite_ref-106) Hudson, Elizabeth Harriot (1878), ( The Life And Times of Louisa, Queen of Prussia With an Introductory Sketch of Prussian History: Volume II reprinted by Adamant Media Corporation (13 September 2001) (pp. 214–215) ^ (#cite_ref-107) Borch, Fred L. (March 2012). "Lore of the Corps – The True Story of a Colonel's Pigtail and a Court-Martial" (https://books.google.com/books?id=efPQ6h9Hm8EC&dq=pigtails+in+us+army+1800&pg=PA1) . The Army Lawyer (Special Edition): 1–2 . Retrieved 20 May 2022 . Works cited Dennerline, Jerry (2002). "The Shun-chih Reign" (https://books.google.com/books?id=hi2THl2FUZ4C&pg=PA73) . In Peterson, Willard J. (ed.). Cambridge History of China, Vol. 9, Part 1: The Ch'ing Dynasty to 1800 . Cambridge: Cambridge University Press. pp. 73–119. ISBN (/wiki/ISBN_(identifier)) 0-521-24334-3 . Ebrey, Patricia (1993). Chinese Civilization: A Sourcebook . Simon and Schuster. Faure, David (2007). Emperor and Ancestor: State and Lineage in South China . Stanford University Press. ISBN (/wiki/ISBN_(identifier)) 978-0-8047-5318-0 . Nguyễn Khắc Thuần (2005), Danh tướng Việt Nam , Nhà Xuất bản Giáo dục. Rhoads, Edward J. M. (2011). Manchus and Han: Ethnic Relations and Political Power in Late Qing and Early Republican China, 1861–1928 . University of Washington Press. ISBN (/wiki/ISBN_(identifier)) 978-0-295-80412-5 . Retrieved 10 March 2014 . Sinor, Denis, ed. (1990). The Cambridge History of Early Inner Asia, Volume 1 (illustrated, reprint ed.). Cambridge University Press. ISBN (/wiki/ISBN_(identifier)) 0-521-24304-1 . Retrieved 10 March 2014 . Struve, Lynn (1988). "The Southern Ming" (https://books.google.com/books?id=tyhT9SZRLS8C&pg=PA641) . In Frederic W. Mote; Denis Twitchett; John King Fairbank (eds.). Cambridge History of China, Volume 7, The Ming Dynasty, 1368–1644 . Cambridge: Cambridge University Press. pp. 641–725. ISBN (/wiki/ISBN_(identifier)) 0-521-24332-7 . Wakeman, Frederic (/wiki/Frederic_Wakeman) (1975b), "Localism and Loyalism During the Ch'ing Conquest of Kiangnan: The Tragedy of Chiang-yin", in Frederic Wakeman Jr.; Carolyn Grant (eds.), Conflict and Control in Late Imperial China , Berkeley: Center of Chinese Studies, University of California, Berkeley, pp. 43–85, ISBN (/wiki/ISBN_(identifier)) 978-0520025974 . Wakeman, Frederic (/wiki/Frederic_Wakeman) (1985). The Great Enterprise: The Manchu Reconstruction of Imperial Order in Seventeenth-Century China . University of California Press. ISBN (/wiki/ISBN_(identifier)) 0-520-04804-0 . In two volumes. [ Volume 1 . University of California Press. 31 March 1986. ISBN (/wiki/ISBN_(identifier)) 9780520048041 . ] 张博泉 (Zhang Boquan) (1984). 《金史简编》 . 辽宁人民出版社. Also mentioned in "Dragonwings", by Laurence Yep, Chapter 4 Further reading [ edit ] Wikimedia Commons has media related to Queues (hair fashion) (https://commons.wikimedia.org/wiki/Category:Queues_(hair_fashion)) . Struve, Lynn A (1998), Voices from the Ming-Qing Cataclysm: China in Tigers' Jaws , Yale University Press, ISBN (/wiki/ISBN_(identifier)) 978-0-300-07553-3 . (312 pages). External links [ edit ] Media related to Queues (hair fashion) (https://commons.wikimedia.org/wiki/Category:Queues_(hair_fashion)) at Wikimedia Commons The dictionary definition of queue (hairstyle) at Wiktionary v t e Human hair (/wiki/Hair) Classification by type Lanugo (/wiki/Lanugo) Body (/wiki/Body_hair) Terminal (/wiki/Terminal_hair) Vellus (/wiki/Vellus_hair) by location Body (/wiki/Body_hair) Ear (/wiki/Ear_hair) Nose (/wiki/Nasal_hair) Eyebrow (/wiki/Eyebrow) unibrow (/wiki/Unibrow) Eyelash (/wiki/Eyelash) Underarm (/wiki/Underarm_hair) Chest (/wiki/Chest_hair) Abdominal (/wiki/Abdominal_hair) Pubic (/wiki/Pubic_hair) Leg (/wiki/Leg_hair) Head hairstyles (/wiki/Hairstyle) ( list (/wiki/List_of_hairstyles) ) Afro (/wiki/Afro) Afro puffs (/wiki/Afro_puffs) Asymmetric cut (/wiki/Asymmetric_cut) Bald (/wiki/Hair_loss) Bangs (/wiki/Bangs_(hair)) Beehive (/wiki/Beehive_(hairstyle)) Big hair (/wiki/Big_hair) Blowout (/wiki/Long_hair) Bob cut (/wiki/Bob_cut) Bouffant (/wiki/Bouffant) Bowl cut (/wiki/Bowl_cut) Braid (/wiki/Braid_(hairstyle)) Brush, butch, burr cut (/wiki/Brush_cut) Bun (/wiki/Bun_(hairstyle)) ( odango (/wiki/Bun_(hairstyle)) ) Bunches (/wiki/Bunches) Businessman cut (/wiki/Regular_haircut) Butterfly haircut (/wiki/Butterfly_haircut) Buzz cut (/wiki/Buzz_cut) Caesar cut (/wiki/Caesar_cut) Chignon (/wiki/Chignon_(hairstyle)) Chonmage (/wiki/Chonmage) Comb over (/wiki/Comb_over) Conk (/wiki/Conk) Cornrows (/wiki/Cornrows) Crew cut (/wiki/Crew_cut) Crochet braids (/wiki/Crochet_braids) Croydon facelift (/wiki/Croydon_facelift) Curly hair (/wiki/Curly_hair) Curtained hair (/wiki/Curtained_hair) Czupryna (/wiki/Czupryna) Devilock (/wiki/Devilock) Dido flip (/wiki/Dido_flip) Digital perm (/wiki/Digital_perm) Dreadlocks (/wiki/Dreadlocks) Ducktail (/wiki/Ducktail) Edgar cut (/wiki/Edgar_cut) Eton crop (/wiki/Eton_crop) Extensions (/wiki/Artificial_hair_integrations) Fauxhawk (/wiki/Mohawk_hairstyle) Feathered hair (/wiki/Feathered_hair) Finger wave 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(/wiki/Plucking_(hair_removal)) chemical (/wiki/Chemical_depilatory) electric (/wiki/Electrology) laser (/wiki/Laser_hair_removal) IPL (/wiki/Intense_pulsed_light) Shaving (/wiki/Shaving) head (/wiki/Head_shaving) leg (/wiki/Leg_shaving) cream (/wiki/Shaving_cream) brush (/wiki/Shaving_brush) soap (/wiki/Shaving_soap) Razor (/wiki/Razor) electric (/wiki/Electric_shaver) safety (/wiki/Safety_razor) straight (/wiki/Straight_razor) disorders Alopecia (/wiki/Hair_loss) areata (/wiki/Alopecia_areata) totalis (/wiki/Alopecia_totalis) universalis (/wiki/Alopecia_universalis) Frictional alopecia (/wiki/Frictional_alopecia) Pattern hair loss (/wiki/Pattern_hair_loss) Hypertrichosis (/wiki/Hypertrichosis) Management (/wiki/Management_of_hair_loss) Trichophilia (/wiki/Trichophilia) Trichotillomania (/wiki/Trichotillomania) Pogonophobia (/wiki/Pogonophobia) Haircare products Brush (/wiki/Hairbrush) Clay (/wiki/Hair_clay) Clipper (/wiki/Hair_clipper) Comb (/wiki/Comb) Conditioner 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Italian fashion house This article is about the fashion house. For the surname, see Missoni (surname) (/wiki/Missoni_(surname)) . This article has multiple issues. Please help improve it (/wiki/Special:EditPage/Missoni) or discuss these issues on the talk page (/wiki/Talk:Missoni) . ( Learn how and when to remove these template messages (/wiki/Help:Maintenance_template_removal) ) This article needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Missoni) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed. 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( May 2014 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Missoni Company type Private Industry Fashion Founded Gallarate (/wiki/Gallarate) , Lombardy (/wiki/Lombardy) , Italy (1953) Founder Rosita and Ottavio Missoni (/wiki/Ottavio_Missoni) Headquarters Varese (/wiki/Varese) , Italy Number of locations 20 countries Area served Worldwide Key people Filippo Grazioli ( Creative Director (/wiki/Creative_Director) and President (/wiki/President_(corporate_title)) ) Angela Missoni Luca Missoni Livio Proli ( CEO (/wiki/Chief_executive_officer) ) Products Knitwear, leather, cotton Services Fashion retail Revenue $135 million (2023) Owner Missoni family Number of employees 300 (2018) [1] (#cite_note-1) Divisions (/wiki/Division_(business)) Missoni Missoni Home Hotel Missoni Website www (http://www.missoni.com) .missoni (http://www.missoni.com) .com (http://www.missoni.com) Missoni is an Italian luxury fashion house based in Varese (/wiki/Varese,_Italy) , and known for its colourful knitwear designs. The company was founded by Ottavio (/wiki/Ottavio_Missoni) ("Tai") and Rosita Missoni in 1953. History [ edit ] Early beginnings [ edit ] The business was founded in 1953, when Ottavio and Rosita Missoni set up a small knitwear workshop in Gallarate (/wiki/Gallarate) , Italy. [2] (#cite_note-history-2) They presented their first collection under the Missoni label in Milan (/wiki/Milan) in 1958. [2] (#cite_note-history-2) The business prospered, with the support of fashion editor Anna Piaggi (/wiki/Anna_Piaggi) , then at Arianna magazine. [2] (#cite_note-history-2) Rosita met the French stylist Emmanuelle Khanh (/wiki/Emmanuelle_Khanh) in New York in 1965, which led to a collaboration and a new collection the following year. [2] (#cite_note-history-2) In April 1967, they were invited to show at the Pitti Palace (/wiki/Pitti_Palace) in Florence (/wiki/Florence) . [2] (#cite_note-history-2) Rosita told the models to remove their bras (/wiki/Brassiere) , supposedly because they were the wrong colour, and showed through the thin lamé (/wiki/Lam%C3%A9_(fabric)) blouses. The material became transparent (/wiki/Transparency_and_translucency) under the lights and caused a sensation. [2] (#cite_note-history-2) The Missonis were not invited back the following year, but the business grew; a new factory in Sumirago (/wiki/Sumirago) was built in 1969. [2] (#cite_note-history-2) Missoni designs were championed in the US by Diana Vreeland (/wiki/Diana_Vreeland) , editor of American Vogue , and a Missoni boutique was opened in Bloomingdales (/wiki/Bloomingdales) . [2] (#cite_note-history-2) Missoni reached the peak of its influence in the fashion world in the early 1970s (though has since been the subject of revivals in interest as new generations of fashion writers discovered the appeal of its core knitwear). Tai Missoni then became more interested in other projects, designing costumes (/wiki/Costumes) for La Scala (/wiki/La_Scala) , carpets, and tapestries (/wiki/Tapestries) . Second generation [ edit ] Rosita Missoni lost interest in fashion in the 1990s and was succeeded by her daughter Angela in 1998 while Rosita took over Missoni Home. [3] (#cite_note-3) In 1996 the Missonis transferred control of the business to their three children: [4] (#cite_note-biochannel-4) Vittorio Missoni (/wiki/Vittorio_Missoni) became marketing director; Luca (born 1956) was menswear designer until 2008; Angela (born 1958) was womenswear designer, and took over menswear in 2008 when Luca became responsible for the Archive and Events. [5] (#cite_note-5) By 2005, Missoni earned 60 to 70 per cent of its revenue from womenswear. [6] (#cite_note-6) From 2007 until 2009, Massimo Gasparini briefly served as the company's CEO, setting up a new organizational structure and streamlining its product offer. [7] (#cite_note-Missoni_CEO_to_Pilot_Major_Changes-7) [8] (#cite_note-8) On 13 September 2011, Missoni made headlines briefly when Target Stores (/wiki/Target_Stores) offered low-cost variants of Missoni products in their stores and on their website. Most items sold out within 24 hours, there were long queues outside stores and the Target website was overloaded. Some items appeared at higher prices on eBay (/wiki/EBay) within hours and Target did not restock. [9] (#cite_note-9) Death of Vittorio Missoni [ edit ] Main article: Transaereo BN-2A-27 Islander crash (/wiki/Transaereo_BN-2A-27_Islander_crash) On 4 January 2013 a plane carrying Vittorio Missoni (/wiki/Vittorio_Missoni) , then CEO of Missoni, went missing off the coast of Venezuela. [10] (#cite_note-10) On 27 June 2013, the Venezuelan government announced that remains of the aircraft had been found north of Los Roques archipelago (/wiki/Los_Roques_archipelago) . [11] (#cite_note-11) Vittorio's body was recovered along with those of the other passengers. From 2013, designer Patricia Urquiola (/wiki/Patricia_Urquiola) was responsible for redesigning the label's stores. [12] (#cite_note-12) [13] (#cite_note-13) In February 2014, Angela Missoni hired Rossella Jardini (/wiki/Rossella_Jardini) , former creative director of Moschino (/wiki/Moschino) , as a consultant. [14] (#cite_note-zar-14) 2018 sale [ edit ] In 2018, the Missoni family sold a 41.2% stake in the company to investment fund Fondo Strategico Italiano (FSI) for €70 million ($82 million), [15] (#cite_note-15) [16] (#cite_note-16) putting the family's share at 58.8%. A year later, Angela Missoni announced plans to list the company at the Borsa Italiana (/wiki/Borsa_Italiana) within three years. [17] (#cite_note-17) In 2021, Angela Missoni was succeeded at the helm of the women's line by Alberto Caliri. [18] (#cite_note-18) The following year, Missoni named Filippo Grazioli (/w/index.php?title=Filippo_Grazioli&action=edit&redlink=1) its new creative director, with Caliri overeeing Missoni Sport and Missoni Home. [19] (#cite_note-Luisa_Zargani_2022-19) Other brands [ edit ] A Missoni coat and dress in 2010 A temporary promotional design by two iconic Italian brands: a Pellegrino (/wiki/S.Pellegrino) mineral water bottle with a Missoni-style label, 2010 Missoni Sport [ edit ] Missoni Sport was first launched in 1985 under the creative direction of Luca Missoni. [20] (#cite_note-Luisa_Zargani_2023-20) It was initially licensed out to Malerba, brought in-house in January 2002 and eventually discontinued in 2007. [2] (#cite_note-history-2) [7] (#cite_note-Missoni_CEO_to_Pilot_Major_Changes-7) It was relaunched in 2022, now produced in-house as a wellness and comfort line, retailing at around 20 per cent less than the signature brand. [19] (#cite_note-Luisa_Zargani_2022-19) Missoni Sport was revived in 2022. [21] (#cite_note-21) In 2023, it launched a capsule collection of tracksuits, cardigans, hoodies and sweatshirts in collaboration with soccer player Mike Maignan (/wiki/Mike_Maignan) . [20] (#cite_note-Luisa_Zargani_2023-20) M Missoni [ edit ] M Missoni, a less expensive line, was introduced in 1998 and initially manufactured and distributed by Marzotto (/wiki/Marzotto) . [2] (#cite_note-history-2) Margherita Maccapani Missoni, granddaughter of Rosita Missoni, served as the label's creative director from 1998 until 2021. [22] (#cite_note-22) In 2012, M Missoni launched its first accessories collection. [23] (#cite_note-23) Missoni later brought the M Missoni line in-house in April 2018, selecting Italian manufacturing company Gilmar SpA as a production partner for the line. This followed the expiration of the licensing agreement with Valentino Fashion Group (/wiki/Valentino_Fashion_Group) , which had first been signed in 2005. [24] (#cite_note-wwd.com-24) By 2019, M Missoni's sales amounted to around 30 million euros. [24] (#cite_note-wwd.com-24) Also in 2019, Margherita Missoni (/wiki/Margherita_Missoni) presented her first full collection as the label's creative director. [25] (#cite_note-25) By 2021, M Missoni was discontinued. [19] (#cite_note-Luisa_Zargani_2022-19) Missoni Home [ edit ] Missoni Home has its roots in furnishing fabrics produced in 1981 in collaboration with Rosita's family firm. [2] (#cite_note-history-2) In 2012, Missoni Home launched its cooperation with the 645-unit Acqua Livingstone tower in Manila, as the first residential building in the world for the brand to fully equip. [26] (#cite_note-26) In 2021, Missoni signed an agreement with Dar Al Arkan Real Estate Development Company (/wiki/Dar_Al_Arkan_Real_Estate_Development_Company) to use its Missoni Home line to decorate the apartments and penthouses of the Urban Oasis, a 38-floor waterfront building under construction by the Dubai Canal (/wiki/Dubai_Canal) . [19] (#cite_note-Luisa_Zargani_2022-19) As part of Missoni Home, the company launched the Missoni Resort Club project in 2022, customizing the Le Carillon beach club in Paraggi (/wiki/Paraggi) and the One&Only Reethi Rah resort in the Maldives. By 2023, a Missoni Resort Club outpost opened in collaboration with Nikki Beach Costa Smeralda in Porto Cervo (/wiki/Porto_Cervo) . [27] (#cite_note-27) Hotel Missoni [ edit ] In November 2005, Missoni and the Rezidor Hotel Group (/wiki/Rezidor_Hotel_Group) signed an agreement to create Hotel Missoni, with plans to have 30 hotels open or in development by 2012. [28] (#cite_note-28) Two Hotel Missoni branches eventually opened in Edinburgh (/wiki/Edinburgh) (2009) and Kuwait City (/wiki/Kuwait_City) (2011). [29] (#cite_note-29) The hotel agreement ceased in 2014, and the Edinburgh hotel was rebranded as Radisson Collection (/wiki/Radisson_Collection) . [30] (#cite_note-rezi-30) Missoni Kids [ edit ] Missoni operated a licence with Children Worldwide Fashion until early 2000s, when it was brought in-house with a more restricted product offer. [31] (#cite_note-Sandra_Salibian_2022-31) In 2022, Missoni signed a multiyear licensing agreement with Italian manufacturing company Simonetta for the development, production and worldwide distribution of the Missoni Kids line, starting from the spring 2023 collection. [31] (#cite_note-Sandra_Salibian_2022-31) Other activities [ edit ] The company launched its first perfume – manufactured by Charles of the Ritz (/wiki/Charles_of_the_Ritz) [32] (#cite_note-32) and developed and distributed by Max Factor (/wiki/Max_Factor) [33] (#cite_note-33) – in 1982, [2] (#cite_note-history-2) although the license is now held by Estée Lauder (/wiki/Est%C3%A9e_Lauder_Companies) . [ citation needed ] In 2011, Target (/wiki/Target_Corporation) offered Missoni for Target , a limited-edition collection including home goods; accessories; and apparel for women, men, girls, and babies both in stores and online. [34] (#cite_note-34) [35] (#cite_note-35) [36] (#cite_note-36) In 2017, Missoni Baia (/w/index.php?title=Missoni_Baia&action=edit&redlink=1) , Missoni's first venture into residential real estate development, broke ground in the Edgewater (/wiki/Edgewater_(Miami)) neighborhood of Miami (/wiki/Miami) , Florida (/wiki/Florida) . [37] (#cite_note-37) The 249 unit complex will be completed by the end of 2022. [38] (#cite_note-38) [19] (#cite_note-Luisa_Zargani_2022-19) In 2018, Missoni and Safilo (/wiki/Safilo) entered into a five-year global licensing agreement for the production and distribution of prescription eyewear and sunglass collections for both the main label and M Missoni. [39] (#cite_note-39) In 2019, the company signed a global licensing agreement for the design, production and distribution of watches with Timex Group (/wiki/Timex_Group) . [40] (#cite_note-40) Campaigns [ edit ] Over the years, Missoni has commissioned various notable photographers for its ad campaigns, including Juergen Teller (/wiki/Juergen_Teller) (2010) [41] (#cite_note-41) and Alasdair McLellan (/wiki/Alasdair_McLellan) (2013). [42] (#cite_note-42) Sponsoring and philanthropy [ edit ] In 2017, Jennifer Lopez (/wiki/Jennifer_Lopez) teamed up with Missoni along with Women's Cancer Research Fund and Saks Fifth Avenue (/wiki/Saks_Fifth_Avenue) to set a fund raise for cancer research. Lopez helped promote the $35 limited-edition Missoni tees, and the profits went to 12 different cancer charities. [43] (#cite_note-43) References [ edit ] ^ (#cite_ref-1) Giulia Segreti and Claudia Cristoferi (June 15, 2018), Cash injection from state-backed fund to fuel Missoni expansion (https://www.reuters.com/article/uk-italy-m-a-missoni-fsi-idUKKBN1JB15D) Reuters (/wiki/Reuters) . ^ Jump up to: a b c d e f g h i j k l "Missoni History" (https://magazine.pilaeo.com/fashion/missoni-history/) . Pilaeo Magazine . Retrieved 15 August 2018 . ^ (#cite_ref-3) Suzy Menkes (/wiki/Suzy_Menkes) (2 December 2003). "Missoni's family mosaic" (https://web.archive.org/web/20070210073149/http://www.iht.com/articles/2003/12/02/missoni_ed3_.php) . International Herald Tribune . London. Archived from the original (http://www.iht.com/articles/2003/12/02/missoni_ed3_.php) on 10 February 2007. ^ (#cite_ref-biochannel_4-0) "Vittorio Missoni biography" (http://www.biography.com/people/vittorio-missoni-21095693) . The Biography Channel (/wiki/The_Biography_Channel) . Retrieved 25 July 2013 . ^ (#cite_ref-5) "Missoni catwalk show at the V&A" (https://web.archive.org/web/20070929133816/http://www.vam.ac.uk/collections/fashion/fashion_motion/missoni/index.html) . Victoria and Albert Museum (/wiki/Victoria_and_Albert_Museum) . Archived from the original (http://www.vam.ac.uk/collections/fashion/fashion_motion/missoni/index.html) on 29 September 2007 . Retrieved 5 August 2007 . ^ (#cite_ref-6) Robert Galbraith (January 20, 2005), Putting the accent on dressing down (https://www.nytimes.com/2005/01/20/style/putting-the-accent-on-dressing-down.html) New York Times (/wiki/New_York_Times) . ^ Jump up to: a b Amanda Kaiser (May 29, 2007), Missoni CEO to Pilot Major Changes (https://wwd.com/business-news/financial/missoni-ceo-to-pilot-major-changes-495012/) Women's Wear Daily (/wiki/Women%27s_Wear_Daily) . ^ (#cite_ref-8) Luisa Zargani (November 3, 2009), Gasparini Leaves Missoni (https://wwd.com/fashion-news/designer-luxury/gasparini-leaves-missoni-2360199/) Women's Wear Daily (/wiki/Women%27s_Wear_Daily) . ^ (#cite_ref-9) Sandra M. Jones (13 September 2011). Target hits it big with Missoni collection: Demand dries up 6-week supply in 1 day (http://articles.chicagotribune.com/2011-09-13/features/chi-targets-website-crashes-after-missoni-launch-20110913_1_target-hits-target-collection-target-corp) . Chicago Tribune . Accessed May 2014. ^ (#cite_ref-10) Eric Wilson (5 January 2013). "Fashion Boss From Italy Lost in Flight Off Venezuela" (https://www.nytimes.com/2013/01/06/world/europe/plane-carrying-italian-designer-lost-near-venezuela.html?ref=europe&_r=0) . The New York Times . Retrieved 18 July 2019 . ^ (#cite_ref-11) "Hallan avioneta desaparecida en enero cuando viajaba Los Roques-Maiquetía" (http://www.eluniversal.com/sucesos/130627/hallan-avioneta-desaparecida-en-enero-cuando-viajaba-los-roques-maique) . El Universal (in Spanish). 27 June 2013 . Retrieved 27 June 2013 . ^ (#cite_ref-12) Alessandra Turra (April 11, 2013), Missoni Unveils New Flagship Concept (https://wwd.com/fashion-news/designer-luxury/missoni-unveils-new-flagship-concept-6889407/) Women's Wear Daily (/wiki/Women%27s_Wear_Daily) ^ (#cite_ref-13) Ali Morris (February 2, 2015), Missoni weaves a bold new design direction into its rue Saint-Honoré Paris store (https://www.wallpaper.com/fashion/missoni-weaves-a-bold-new-design-direction-into-its-rue-saint-honor-paris-store) Wallpaper (/wiki/Wallpaper_(magazine)) . ^ (#cite_ref-zar_14-0) Luisa Zargani (25 February 2014). "Rossella Jardini to Lend a Hand at Missoni" (http://www.wwd.com/fashion-news/fashion-scoops/helping-hand-7507728?src=nl/mornReport/20140225) . WWD . Retrieved 18 July 2019 . ^ (#cite_ref-15) Pietro Lombardi (June 15, 2018), Italian Fashion House Missoni Sells 41.2% Stake for €70 Million (https://www.wsj.com/articles/italian-fashion-house-missoni-sells-41-2-stake-for-70-million-1529074581) Wall Street Journal (/wiki/Wall_Street_Journal) . ^ (#cite_ref-16) Giulia Segreti (June 15, 2018), Italian state-backed fund to buy 41.2 pct stake of fashion house Missoni (https://www.reuters.com/article/italy-ma-missoni-fsi/italian-state-backed-fund-to-buy-412-pct-stake-of-fashion-house-missoni-idUSI6N1T9001) Reuters (/wiki/Reuters) . ^ (#cite_ref-17) Giulia Segreti (November 15, 2019), Italy's Missoni plans to list on bourse in next three years: paper (https://www.reuters.com/article/us-italy-missoni-ipo-idUSKBN1XP0LJ) Reuters (/wiki/Reuters) . ^ (#cite_ref-18) Alessandra Turra (July 28, 2021), Missoni Wants You to Live in Colors (https://wwd.com/fashion-news/fashion-scoops/missoni-wants-you-to-live-in-colors-1234889070/) Women's Wear Daily (/wiki/Women%27s_Wear_Daily) . ^ Jump up to: a b c d e Luisa Zargani (March 17, 2022), Exclusive: Missoni Names Filippo Grazioli New Creative Director (https://wwd.com/fashion-news/designer-luxury/missoni-names-filippo-grazioli-new-creative-director-1235134410/) Women's Wear Daily (/wiki/Women%27s_Wear_Daily) . ^ Jump up to: a b Luisa Zargani (7 July 2023), Missoni Sport, Mike Maignan Launch Capsule (https://wwd.com/fashion-news/other/missoni-sport-mike-maignan-launch-capsule-1235729480/) Women's Wear Daily (/wiki/Women%27s_Wear_Daily) . ^ (#cite_ref-21) Luke Leitch (17 March 2022), Missoni Changes Its Stripes: Givenchy Alum Filippo Grazioli Is New Creative Director (https://www.vogue.com/article/missoni-names-filippo-grazioli-creative-director) Vogue (/wiki/Vogue_(magazine)) ^ (#cite_ref-22) Rysman, Laura (25 September 2019). "Margherita Maccapani Missoni Takes on a New Challenge, by Looking Back" (https://www.nytimes.com/2019/09/25/t-magazine/margherita-maccapani-missoni-fashion-week.html) . The New York Times . ISSN (/wiki/ISSN_(identifier)) 0362-4331 (https://www.worldcat.org/issn/0362-4331) . Retrieved 31 March 2020 . ^ (#cite_ref-23) Merle Ginsberg (May 29, 2012), M Missoni to Launch First Accessories Line (https://www.hollywoodreporter.com/lifestyle/style/m-missoni-launch-first-accessories-line-330503/) The Hollywood Reporter (/wiki/The_Hollywood_Reporter) . ^ Jump up to: a b Luisa Zargani (March 18, 2021), CEO Talks: Missoni’s Livio Proli on Reorganization, Freezing M Missoni Line (https://wwd.com/business-news/business-features/missoni-livio-proli-reorganization-freezing-m-missoni-1234781156/) Women's Wear Daily (/wiki/Women%27s_Wear_Daily) . ^ (#cite_ref-25) Carola Long (September 20, 2019), Fendi and M Missoni offer feel good clothes (https://www.ft.com/content/0b36f6ca-db90-11e9-8f9b-77216ebe1f17) Financial Times (/wiki/Financial_Times) . ^ (#cite_ref-26) Merle Ginsberg (26 March 2012), First Residential Building With Interiors By Missoni Opens in the Philippines (https://www.hollywoodreporter.com/lifestyle/style/first-residential-building-interiors-by-missoni-opens-philippines-304284/) The Hollywood Reporter (/wiki/The_Hollywood_Reporter) . ^ (#cite_ref-27) Sandra Salibian (14 July 2023), Missoni Takes Over the Nikki Beach Costa Smeralda in Sardinia (https://wwd.com/fashion-news/fashion-scoops/missoni-takes-over-the-nikki-beach-costa-smeralda-resort-destination-in-porto-cervo-sardinia-1235743922/) Women's Wear Daily (/wiki/Women%27s_Wear_Daily) . ^ (#cite_ref-28) "Lifetime Achievement Award for Kurt Ritter at European Hospitality Awards 2012" (http://www.rezidor.com/phoenix.zhtml?c=223433&p=irol-newsArticle_Print&ID=1755351) . The Rezidor Hotel Group . Retrieved 25 January 2016 . [ permanent dead link ] ^ (#cite_ref-29) Luisa Zargani ( May 18, 2011), Hotel Missoni Set to Open in Kuwait City (https://wwd.com/eye/lifestyle/missoni-opens-second-hotel-3615954/) Women's Wear Daily (/wiki/Women%27s_Wear_Daily) . ^ (#cite_ref-rezi_30-0) Graham Smith (3 March 2014). "Carlson Rezidor and Missoni Tie Up" (http://www.businesstraveller.com/news/100292/carlson-rezidor-and-missoni-end-hotel-tie-up) . BusinessTraveler. ^ Jump up to: a b Sandra Salibian (9 May 2022), Missoni, Simonetta Sign Childrenswear Licensing Agreement (https://wwd.com/business-news/markets/missoni-simonetta-childrenswear-licensing-agreement-1235176274/) Women's Wear Daily (/wiki/Women%27s_Wear_Daily) . ^ (#cite_ref-32) Bernadine Morris (25 March 1981), For Missioni, Applaus in Milan (https://www.nytimes.com/1981/03/25/garden/for-missoni-applause-in-milan.html) New York Times (/wiki/New_York_Times) . ^ (#cite_ref-33) Bernadine Morris (12 September 1981), Missoni at the Met (https://www.nytimes.com/1981/09/12/style/missoni-at-the-met.html) New York Times (/wiki/New_York_Times) . ^ (#cite_ref-34) Lynden Volpe (7 September 2011), Missoni Visits Target (https://www.vanityfair.com/style/2011/08/missoni-for-target) Vanity Fair (/wiki/Vanity_Fair_(magazine)) ^ (#cite_ref-35) Emanuella Grinberg (13 September 2011), Missoni for Target line creates Black Friday-like demand (https://edition.cnn.com/2011/09/13/living/missoni-for-target-line-creates-black-friday-like-demand/index.html) CNN (/wiki/CNN) . ^ (#cite_ref-36) Stephanie Clifford (13 September 2011), Demand at Target for Fashion Line Crashes Web Site (https://www.nytimes.com/2011/09/14/business/demand-at-target-for-fashion-line-crashes-web-site.html) New York Times (/wiki/New_York_Times) . ^ (#cite_ref-37) C. J. Hughes (21 April 2020), The Latest Fashion Accessory in Miami: A Luxury Condo (https://www.nytimes.com/2020/04/21/business/miami-fashion-luxury-condo.html) New York Times (/wiki/New_York_Times) . ^ (#cite_ref-38) "Edgewater's Missoni Baia condo tower begins its 649-foot climb" (https://miami.curbed.com/2018/9/25/17896242/construction-edgewater-missoni-baia-condos/) . Curbed.com . Retrieved 6 October 2018 . ^ (#cite_ref-39) Luisa Zargani (December 19, 2018), Missoni, Safilo Ink Eyewear Licensing Agreement (https://wwd.com/accessories-news/eyewear/missoni-safilo-eyewear-licensing-agreement-1202938550/) Women's Wear Daily (/wiki/Women%27s_Wear_Daily) . ^ (#cite_ref-40) Martino Carrera (December 4, 2019), Missoni Signs Watch License With Timex (https://wwd.com/accessories-news/watches/missoni-signs-watch-license-timex-1203386530/) Women's Wear Daily (/wiki/Women%27s_Wear_Daily) . ^ (#cite_ref-41) Carola Long (February 7, 2010), Missoni accomplished (https://www.independent.co.uk/life-style/fashion/features/missoni-accomplished-photographer-juergen-teller-captures-three-generations-of-the-italian-fashion-dynasty-1888521.html) The Independent (/wiki/The_Independent) . ^ (#cite_ref-42) Alessandra Turra (February 6, 2013), Missoni to Mark 60th Anniversary With Campaign (https://wwd.com/business-news/media/new-past-6699812/) Women's Wear Daily (/wiki/Women%27s_Wear_Daily) . ^ (#cite_ref-43) "Jennifer Lopez Teams Up With Missoni and Saks Fifth Avenue for Women's Cancer Research Fund" (http://people.com/chica/jennifer-lopez-missoni-saks-fifth-avenue-women-cancer-research-fund-collaboration-tshirt/) . PEOPLE.com . 14 September 2017 . Retrieved 4 October 2017 . Further reading [ edit ] Sanai, Darius (1 March 2013). "Go Faster Stripes (Interview with Angela Missoni)" (https://web.archive.org/web/20180109174127/http://www.lux-mag.com/2013/03/01/go-faster-stripes/) . LUX Magazine. Archived from the original (http://lux-mag.com/2013/03/01/go-faster-stripes/) on 9 January 2018 . Retrieved 6 March 2014 . 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Flattening breasts with undergarments Binders on display at a Science History Institute (/wiki/Science_History_Institute) exhibit dedicated to stretch garments. Breast binding , also known as chest binding , is the flattening and hiding of breasts (/wiki/Breast) with constrictive materials such as cloth strips or purpose-built undergarments (/wiki/Undergarment) . Binders may also be used as alternatives to bras (/wiki/Bra) or for reasons of propriety. People who bind include women, trans men (/wiki/Trans_man) , non-binary (/wiki/Non-binary_gender) people, and cisgender (/wiki/Cisgender) men with gynecomastia (/wiki/Gynecomastia) . History [ edit ] Breast binding has been used in many historical contexts. Different time periods of history have had differing viewpoints on the female form (/wiki/Female_form) , including the widespread use of corsets throughout western European history (/wiki/European_history) up to the Victorian era (/wiki/Victorian_era) . [1] (#cite_note-Smith2014-1) A group of women in Chinese traditional dress (2021). The three women at the bottom center are wearing a moxiong (/wiki/Hezi_(clothing)) . During the era of China's imperial dynasties, revealing the curves of a woman's breast was considered lewd and breasts were often bound with a moxiong (/wiki/Hezi_(clothing)) or a dudou (/wiki/Dudou) . The use of the garment was particularly popular during the Tang (/wiki/Tang_dynasty) and Song (/wiki/Song_dynasty) dynasties. [2] (#cite_note-2) [3] (#cite_note-3) Breast binding became an exclusive aesthetic practice for women continuing until the 1930s, with more prevalence among upper-class women. [4] (#cite_note-4) The long-standing custom resulted from a culture that "believed large breasts were symbols of lasciviousness." [5] (#cite_note-Jiao2017-5) A woman and a man wearing a traditional hanbok (/wiki/Hanbok) . Korean women wearing the traditional hanbok (/wiki/Hanbok) concealed the female body by binding their breasts tightly with a cloth band. [6] (#cite_note-6) [7] (#cite_note-7) In Japan, the traditional kimono (/wiki/Kimono) flattens the appearance of the breasts, with breasts bound and flattened with an obi (/wiki/Obi_(sash)) , [8] (#cite_note-8) and a datemaki belt wrapped around the torso from the chest to the waist. [9] (#cite_note-Kenny-Nichols2017-9) A sarashi (/wiki/Sarashi) is used by Japanese women to flatten their breasts. [ citation needed ] In Africa, adolescent Wodaabe (/wiki/Wodaabe) girls had their breasts tightly bound to induce sagging, minimize sexual desirability, and improve their ability to breastfeed. [9] (#cite_note-Kenny-Nichols2017-9) In cultures where the breasts of pubescent (/wiki/Puberty) girls are ironed (/wiki/Breast_ironing) to suppress their development, wealthier classes often choose to use an elastic belt to compress and flatten the breasts. [10] (#cite_note-10) Until the early 20th century, many Catholic nuns bound their breasts under their habit (/wiki/Religious_habit#Nuns) to deflect the attention of male clergy and diminish sexual desire in men. [1] (#cite_note-Smith2014-1) [9] (#cite_note-Kenny-Nichols2017-9) Breast binding was one of the punishments inflicted upon the women inmates confined in Ireland's Magdalene asylums (/wiki/Magdalene_Laundries_in_Ireland) . [11] (#cite_note-11) Post-WWI women office workers modified their physique with bound breasts to reduce and conceal the female form, thereby minimizing sexual curiosity from males. [12] (#cite_note-12) In the 1920s, a flat-chested silhouette became the ideal look among women, with breasts bound against the chest wall with binders. [13] (#cite_note-Farrell-Beck2002-13) To present a boyish form, flappers (/wiki/Flapper) bound their breasts. [13] (#cite_note-Farrell-Beck2002-13) Wearing a corset (/wiki/Corset) was one way that the size of breasts could be reduced. [1] (#cite_note-Smith2014-1) Motivation [ edit ] This section needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Breast_binding) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) in this section. Unsourced material may be challenged and removed. ( November 2022 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Male impersonator Ella Wesner (/wiki/Ella_Wesner) . Impersonators and drag kings (/wiki/Drag_kings) may bind their breasts as a characteristic of their costume. There are many reasons for binding breasts: [14] (#cite_note-Haghighi-14) For accelerated recovery by reducing movement after an injury or surgery. For lactation suppression (/wiki/Lactation_suppression) . [15] (#cite_note-Swift2003-15) For concealment of breasts (/wiki/Breast) or breast development (/wiki/Breast#Development) . For beauty (/wiki/Beauty) and aesthetics (/wiki/Aesthetics) . For male impersonation (/wiki/Drag_king) , cosplay (/wiki/Cosplay) , crossplay (/wiki/Crossplay_(cosplay)) , and other forms of costuming (/wiki/Costume) . For a masculine clothed appearance, to assist with passing (/wiki/Passing_(gender)) as male. For transgender men, including non-binary people, it alleviates gender dysphoria (/wiki/Gender_dysphoria) by altering the appearance of the chest [16] (#cite_note-16) and creates gender euphoria (/wiki/Gender_euphoria) ; and as a substitute for, or prior to chest masculinization surgery (/wiki/Male_chest_reconstruction) . Women who have developed larger breasts from hormone replacement therapy or breast augmentation surgery may choose to bind. Some adolescents begin to bind their breasts as they enter (/wiki/Thelarche) puberty (/wiki/Puberty) . One case study has described an adolescent girl binding as a symptom of her body dysmorphic disorder (/wiki/Body_dysmorphic_disorder) , [17] (#cite_note-17) but this is not the most common reason that individuals bind their breasts. Transgender and non-binary people [ edit ] Drawing of a Filipino transmasculine person wearing a binder and dressing in front of the mirror. Transgender men (/wiki/Trans_man) and non-binary people may bind their breasts as an alternative to or while waiting for top surgery (/wiki/Male_chest_reconstruction) . [18] (#cite_note-18) The appearance of a flat chest may minimize gender dysphoria (/wiki/Gender_dysphoria) [19] (#cite_note-19) and cause gender euphoria (/wiki/Gender_euphoria) . [20] (#cite_note-20) Many people who bind for gender-affirming purposes are unwilling to seek medical attention due to a perceived lack of knowledge from healthcare professionals and continue binding since they believe the benefits outweigh the risks. [21] (#cite_note-Tsjeng-21) In case of health concerns, they tend to seek help from healthcare professionals they perceive as trans-friendly and who will not stigmatize their binding practice. [22] (#cite_note-22) Gynecomastia [ edit ] Cisgender men afflicted with gynecomastia (/wiki/Gynecomastia) may find cause to bind as a means to control the appearance of breasts, during the wait before surgery or as an alternative to surgery. [14] (#cite_note-Haghighi-14) Some apparel companies (such as Underworks) make compression shirts for cisgender men that provide the same result as a breast binder. [23] (#cite_note-23) Methods [ edit ] Modern binders or binding bras are purpose-built undergarments (/wiki/Undergarment) often made of spandex (/wiki/Spandex) or other synthetic fibre (/wiki/Synthetic_fibre) . These can be more expensive than other breast-binding options and are not widely stocked, but they are generally considered less dangerous than alternatives. [ citation needed ] Other common binding materials include cloth strips or non-elastic bandages (/wiki/Bandage) . Elastic bandages (/wiki/Elastic_bandage) (such as "Ace" brand bandages) are considered unsafe to use. Duct tape has also been used to bind breasts, but it is dangerous and should be avoided. It is safer to use a binder from a reputable company or a high impact sports bra. [24] (#cite_note-24) Tops layered from tight-fitting to loose can also be used to hide breasts. Complications [ edit ] Breast binding is known to create a number of health risks, including difficulty breathing, backache, skin rashes, and deformity of the ribs. [1] (#cite_note-Smith2014-1) To minimise complications, some limit their binding use for no longer than eight hours. [21] (#cite_note-Tsjeng-21) Binding for extended periods of time can lead to rashes (/wiki/Rash) or yeast infections (/wiki/Yeast_infections) under the breasts, [25] (#cite_note-Feldman-25) [26] (#cite_note-Erickson-Schroth2014-26) back (/wiki/Back_pain) or chest pain (/wiki/Chest_pain) , shortness of breath (/wiki/Shortness_of_breath) , overheating, or, rarely, fractured (/wiki/Bone_fracture) ribs. [21] (#cite_note-Tsjeng-21) Additionally, some unconventional binding materials, such as duct tape or athletic bandages, are known to increase an individual's risk for negative health outcomes such as shortness of breath, musculoskeletal damage, and skin damage. [27] (#cite_note-PRIDEinPractice-27) Unsafe binding may lead to permanent deformation of the breasts, [28] (#cite_note-umich_binding_faq-28) scarring, and lung constriction, [29] (#cite_note-29) and long-term binding may adversely affect the outcome of a future mastectomy (/wiki/Mastectomy) . [30] (#cite_note-MakadonMayer2015-30) See also [ edit ] Fashion portal (/wiki/Portal:Fashion) History portal (/wiki/Portal:History) LGBT portal (/wiki/Portal:LGBT) Breast reduction (/wiki/Breast_reduction) Gender-affirming surgery (female-to-male) (/wiki/Gender-affirming_surgery_(female-to-male)) History of cross-dressing (/wiki/History_of_cross-dressing) References [ edit ] ^ Jump up to: a b c d Smith, Merril D., ed. (2014). Cultural Encyclopedia of the Breast . Lanham, Maryland: Rowman & Littlefield (/wiki/Rowman_%26_Littlefield) . pp. 45–46. ISBN (/wiki/ISBN_(identifier)) 978-0759123311 . ^ (#cite_ref-2) "The ancient art of women's underwear" (http://usa.chinadaily.com.cn/culture/2011-03/04/content_12118405_2.htm) . China Daily (/wiki/China_Daily) . March 4, 2011 . Retrieved 5 November 2022 . ^ (#cite_ref-3) "The little red look" (https://archive.today/20221105100525/https://www.economist.com/china/2016/04/16/the-little-red-look) . The Economist (/wiki/The_Economist) . April 16, 2016. Archived from the original (https://www.economist.com/china/2016/04/16/the-little-red-look) on 5 November 2022 . Retrieved 5 November 2022 . ^ (#cite_ref-4) Lei, Jun (Spring 2015). " "Natural" Curves: Breast-Binding and Changing Aesthetics of the Female Body in China of the Early Twentieth Century". Modern Chinese Literature and Culture (/wiki/Modern_Chinese_Literature_and_Culture) . 27 (1): 163–223. ISSN (/wiki/ISSN_(identifier)) 1520-9857 (https://www.worldcat.org/issn/1520-9857) . ^ (#cite_ref-Jiao2017_5-0) Jiao, Lin (2017). Nation, Fashion and Women’s Everyday Lives: Breast-binding in China, 1910s-1970s (PDF) (PhD thesis). SOAS University of London (/wiki/SOAS_University_of_London) . doi (/wiki/Doi_(identifier)) : 10.25501/SOAS.00024390 (https://doi.org/10.25501%2FSOAS.00024390) . ^ (#cite_ref-6) Shin, Gi-Wook; Robinson, Michael, eds. (1999). Colonial Modernity in Korea . Cambridge, Massachusetts: Harvard University Asia Center (/wiki/Harvard_University_Asia_Center) . p. 421 (https://books.google.com/books?id=JMVgNnkZXAQC&q=421) . ISBN (/wiki/ISBN_(identifier)) 978-0674005945 . ^ (#cite_ref-7) Kim, Julie Ju-Youn (2014). "Rendering the Body Present: Unwrapping the Hanbok and Villa of Veils" (https://www.academia.edu/related-papers/10763583) . Academia.edu (/wiki/Academia.edu) . p. 13. ^ (#cite_ref-8) Tewari, Nita; Alvarez, Alvin, eds. (2009). Asian American Psychology: Current Perspectives . New York: Psychology Press (/wiki/Psychology_Press) . p. 197 (https://books.google.com/books?id=w7K4bRyidcoC&q=obi) . ISBN (/wiki/ISBN_(identifier)) 978-1841697697 . ^ Jump up to: a b c Kenny, Erin; Nichols, Elizabeth Gackstetter (2017). Beauty around the World: A Cultural Encyclopedia . Santa Barbara, California: ABC-CLIO. pp. 46–48. ISBN (/wiki/ISBN_(identifier)) 978-1610699440 . ^ (#cite_ref-10) "Breast Ironing Fact Sheet" (https://aho.org/fact-sheets/breast-ironing-fact-sheet) . Africa Health Organisation . March 22, 2019 . Retrieved 10 November 2022 . ^ (#cite_ref-11) Gibbons, Fiachra (6 February 2003). "In God's Name" (https://www.theguardian.com/culture/2003/feb/07/artsfeatures) . The Guardian (/wiki/The_Guardian) . Retrieved 4 November 2022 . ^ (#cite_ref-12) Yellis, Kenneth A. (Spring 1969). "Prosperity's Child: Some Thoughts on the Flapper". American Quarterly (/wiki/American_Quarterly) . 21 (1): 54. doi (/wiki/Doi_(identifier)) : 10.2307/2710772 (https://doi.org/10.2307%2F2710772) . ISSN (/wiki/ISSN_(identifier)) 0003-0678 (https://www.worldcat.org/issn/0003-0678) . JSTOR (/wiki/JSTOR_(identifier)) 2710772 (https://www.jstor.org/stable/2710772) . ^ Jump up to: a b Farrell-Beck, Jane; Gau, Colleen (2002). Uplift: The Bra in America . Philadelphia, Pennsylvania: University of Pennsylvania Press (/wiki/University_of_Pennsylvania_Press) . pp. 41, 49. ISBN (/wiki/ISBN_(identifier)) 0812236432 . ^ Jump up to: a b Haghighi, Anna Smith (June 29, 2022). "What is binding, and how can I do it safely?" (https://www.medicalnewstoday.com/articles/breast-binding) . Medical News Today (/wiki/Medical_News_Today) . Retrieved April 16, 2023 . ^ (#cite_ref-Swift2003_15-0) Swift, Kathy; Janke, Jill (May–June 2003). "Breast Binding . . . Is It All That It's Wrapped Up To Be?". Journal of Obstetric, Gynecologic, & Neonatal Nursing (/wiki/Journal_of_Obstetric,_Gynecologic,_%26_Neonatal_Nursing) . 32 (3): 332–339. doi (/wiki/Doi_(identifier)) : 10.1177/0884217503253531 (https://doi.org/10.1177%2F0884217503253531) . ISSN (/wiki/ISSN_(identifier)) 0884-2175 (https://www.worldcat.org/issn/0884-2175) . PMID (/wiki/PMID_(identifier)) 12774875 (https://pubmed.ncbi.nlm.nih.gov/12774875) . ^ (#cite_ref-16) Countryman, Betty Ann. "Breast care in the early puerperium." Journal of Obstetric, Gynecologic, & Neonatal Nursing 2.5 (1973): 36–40 ^ (#cite_ref-17) Horowitz K, Gorfinkle K, Lewis O, Phillips KA (December 2002). "Body dysmorphic disorder in an adolescent girl" (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1613829) . J Am Acad Child Adolesc Psychiatry (/wiki/Journal_of_the_American_Academy_of_Child_and_Adolescent_Psychiatry) . 41 (12): 1503–9. doi (/wiki/Doi_(identifier)) : 10.1097/00004583-200212000-00023 (https://doi.org/10.1097%2F00004583-200212000-00023) . PMC (/wiki/PMC_(identifier)) 1613829 (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1613829) . PMID (/wiki/PMID_(identifier)) 12447038 (https://pubmed.ncbi.nlm.nih.gov/12447038) . ^ (#cite_ref-18) Bashforth, Emily (December 30, 2022). "How to bind your chest safely" (https://www.lgbtqnation.com/2022/12/bind-chest-safely/) . LGBTQ Nation (/wiki/LGBTQ_Nation) . Retrieved April 16, 2023 . ^ (#cite_ref-19) Julian, Jamie M.; Salvetti, Bianca; Held, Jordan I.; Murray, Paula M.; Lara-Rojas, Lucas; Olson-Kennedy, Johanna (2021). "The Impact of Chest Binding in Transgender and Gender Diverse Youth and Young Adults" (https://pubmed.ncbi.nlm.nih.gov/33121901/) . The Journal of Adolescent Health . 68 (6): 1129–1134. doi (/wiki/Doi_(identifier)) : 10.1016/j.jadohealth.2020.09.029 (https://doi.org/10.1016%2Fj.jadohealth.2020.09.029) . ISSN (/wiki/ISSN_(identifier)) 1879-1972 (https://www.worldcat.org/issn/1879-1972) . PMID (/wiki/PMID_(identifier)) 33121901 (https://pubmed.ncbi.nlm.nih.gov/33121901) . S2CID (/wiki/S2CID_(identifier)) 226205016 (https://api.semanticscholar.org/CorpusID:226205016) . ^ (#cite_ref-20) Beischel, Will J.; Gauvin, Stéphanie E. M.; van Anders, Sari M. (2022). " (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9255216) "A little shiny gender breakthrough": Community understandings of gender euphoria" (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9255216) . International Journal of Transgender Health . 23 (3): 274–294. doi (/wiki/Doi_(identifier)) : 10.1080/26895269.2021.1915223 (https://doi.org/10.1080%2F26895269.2021.1915223) . ISSN (/wiki/ISSN_(identifier)) 2689-5269 (https://www.worldcat.org/issn/2689-5269) . PMC (/wiki/PMC_(identifier)) 9255216 (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9255216) . PMID (/wiki/PMID_(identifier)) 35799953 (https://pubmed.ncbi.nlm.nih.gov/35799953) . ^ Jump up to: a b c Tsjeng, Zing (September 28, 2016). "Inside the Landmark, Long Overdue Study on Chest Binding" (https://www.vice.com/en/article/7xzpxx/chest-binding-health-project-inside-landmark-overdue-transgender-study) . Vice News (/wiki/Vice_News) . Retrieved 20 March 2023 . ^ (#cite_ref-22) Jarrett, Brooke A.; Corbet, Alexandra L.; Gardner, Ivy H.; Peitzmeier, Sarah M. (14 Dec 2018). "Chest Binding and Care Seeking Among Transmasculine Adults: A Cross-Sectional Study" (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6298447) . Transgender Health . 3 (1). Mary Ann Liebert, Inc., publishers: 170–178. doi (/wiki/Doi_(identifier)) : 10.1089/trgh.2018.0017 (https://doi.org/10.1089%2Ftrgh.2018.0017) . PMC (/wiki/PMC_(identifier)) 6298447 (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6298447) . PMID (/wiki/PMID_(identifier)) 30564633 (https://pubmed.ncbi.nlm.nih.gov/30564633) . ^ (#cite_ref-23) Jones, Eve (June 4, 2022). "Best chest binder" (https://kdvr.com/reviews/br/apparel-br/best-chest-binder/) . Fox31 Denver (/wiki/KDVR) . Retrieved April 16, 2023 . ^ (#cite_ref-24) "Trans Tape for Chest Binding: Insights on How To Use Tape" (https://www.gendergp.com/trans-tape-how-to-use-chest-binding-alternative/) . GenderGP . June 22, 2020. ^ (#cite_ref-Feldman_25-0) Feldman, JL; Goldberg, J (2006). "Transgender primary medical care: Suggested guidelines for clinicians in British Columbia" (http://transhealth.ucsf.edu/trans?page=protocol-exam) . Vancouver Coastal Health . Retrieved 15 June 2014 . ^ (#cite_ref-Erickson-Schroth2014_26-0) Erickson-Schroth, Laura (2014). Trans Bodies, Trans Selves: A Resource for the Transgender Community . Oxford University Press. p. 134. ISBN (/wiki/ISBN_(identifier)) 9780199325351 . ^ (#cite_ref-PRIDEinPractice_27-0) "Chest Binding: A Physician's Guide" (https://www.prideinpractice.org/articles/chest-binding-physician-guide/) . PRIDEinPractice . 6 April 2019 . Retrieved 1 October 2020 . ^ (#cite_ref-umich_binding_faq_28-0) "Binding FAQ" (https://web.archive.org/web/20120906033102/http://www.med.umich.edu/transgender/Binding%20FAQ.pdf) (PDF) . University of Michigan Health System. Archived from the original (http://www.med.umich.edu/transgender/Binding%20FAQ.pdf) (PDF) on 6 September 2012. ^ (#cite_ref-29) Dutton, Lauren; Koenig, Karel; Fennie, Kristopher (2008-08-01). "Gynecologic care of the female-to-male transgender man" (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4902153) . Journal of Midwifery & Women's Health . 53 (4): 331–337. doi (/wiki/Doi_(identifier)) : 10.1016/j.jmwh.2008.02.003 (https://doi.org/10.1016%2Fj.jmwh.2008.02.003) . ISSN (/wiki/ISSN_(identifier)) 1542-2011 (https://www.worldcat.org/issn/1542-2011) . PMC (/wiki/PMC_(identifier)) 4902153 (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4902153) . PMID (/wiki/PMID_(identifier)) 18586186 (https://pubmed.ncbi.nlm.nih.gov/18586186) . ^ (#cite_ref-MakadonMayer2015_30-0) Makadon, Harvey J.; Mayer, Kenneth H.; Potter, Jennifer; Goldhammer, Hilary (2015). The Fenway Guide to Lesbian, Gay, Bisexual and Transgender Health . ACP Press. p. 409. ISBN (/wiki/ISBN_(identifier)) 9781934465783 . Further reading [ edit ] Jiao, Lin (February 2021). "Reconciling Femininities and Female Masculinities: Women's Premarital Experiences of Breast-Binding in the Maoist Era". Modern China (/wiki/Modern_China_(journal)) . 48 (2): 321–352. doi (/wiki/Doi_(identifier)) : 10.1177/0097700421992314 (https://doi.org/10.1177%2F0097700421992314) . ISSN (/wiki/ISSN_(identifier)) 0097-7004 (https://www.worldcat.org/issn/0097-7004) . S2CID (/wiki/S2CID_(identifier)) 233952210 (https://api.semanticscholar.org/CorpusID:233952210) . Lucas, Julian (December 15, 2021). "The Two Mountains Weighing Down My Chest – An Interview with Film Director Viv Li" (https://www.thepomonan.com/film/2021/2/13/the-two-mountains-weighing-down-my-chest) . The Pomonan . 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Australian sports equipment company Kookaburra Sport Pty Ltd Company type Private (/wiki/Private_Limited) Industry Apparel (/wiki/Clothing_industry) Sports equipment (/wiki/Sports_equipment) Founded 1890 ; 134 years ago ( 1890 ) Founder Alfred Grace Thompson Headquarters Moorabbin (/wiki/Moorabbin,_Victoria) , Melbourne (/wiki/Melbourne) , Australia (/wiki/Australia) Area served Worldwide Products Cricket balls (/wiki/Cricket_ball) athletic apparel (/wiki/Sportswear) sporting goods (/wiki/Sporting_goods) Website kookaburrasport (http://kookaburrasport.com.au) .com (http://kookaburrasport.com.au) .au (http://kookaburrasport.com.au) Kookaburra Sport Pty Ltd (or simply Kookaburra ) is an Australian sports equipment (/wiki/Sports_equipment) and apparel company based in Melbourne (/wiki/Melbourne) , Australia (/wiki/Australia) . The company was founded in 1890 and specializes in manufacturing various equipment used for Australian rules football (/wiki/Australian_rules_football) , cricket (/wiki/Cricket) , and field hockey (/wiki/Field_hockey) . The company is named after the Australian bird Kookaburra (/wiki/Kookaburra) . The company manufactures the white ball (/wiki/Cricket_ball) used in all One-day (/wiki/One-day_internationals) international matches and the red ball used in Test cricket (/wiki/Test_cricket) in Australia (/wiki/Australia) , New Zealand (/wiki/New_Zealand) , South Africa (/wiki/South_Africa) , Pakistan (/wiki/Pakistan) , Sri Lanka (/wiki/Sri_Lanka) , Bangladesh (/wiki/Bangladesh) , and Zimbabwe (/wiki/Zimbabwe) . History [ edit ] The company was founded in 1890 by Alfred Grace Thompson, a migrant harness and saddle (/wiki/Saddle) maker from United Kingdom (/wiki/United_Kingdom) . Thompson migrated from Scotland (/wiki/Scotland) and started manufacturing cricket balls when his livelihood was threatened by the reduction in demand for horse carriages (/wiki/Horse_carriage) due to the advent of the motor car (/wiki/Advent_of_the_motor_car) . [1] (#cite_note-1) The company was founded in Brighton (/wiki/Brighton,_Victoria) before moving to its current location in Moorabbin (/wiki/Moorabbin,_Victoria) on the outskirts of Melbourne (/wiki/Melbourne) , Australia (/wiki/Australia) . In the mid-1980s, the company diversified into manufacturing the full range of cricket bats, clothing, footwear and protective equipment. [2] (#cite_note-2) Products [ edit ] A Kookaburra cricket ball (/wiki/Cricket_ball) The company manufactures Clothing and equipment (/wiki/Cricket_clothing_and_equipment) including bats (/wiki/Cricket_bat) , balls (/wiki/Cricket_ball) , stumps (/wiki/Stump_(cricket)) , and other equipment. [3] (#cite_note-3) The company manufactures the white ball (/wiki/Cricket_ball) used in all One-day internationals (/wiki/One-day_internationals) matches, and the pink and red balls used in Test cricket (/wiki/Test_cricket) in Australia (/wiki/Australia) , New Zealand (/wiki/New_Zealand) , South Africa (/wiki/South_Africa) , Pakistan (/wiki/Pakistan) , Sri Lanka (/wiki/Sri_Lanka) , Bangladesh (/wiki/Bangladesh) , and Zimbabwe (/wiki/Zimbabwe) . [4] (#cite_note-4) The ball is machine-stitched with the seam fading quickly and the thin seam makes it difficult for finger spinners to grip the ball. [5] (#cite_note-5) The company also produces a range of cricket equipment (/wiki/Cricket_equipment) , such as bats, helmets, pads, gloves, and others. The Kookaburra bats are known for being some of the best worldwide and are often used by Australian greats such as Glenn Maxwell (/wiki/Glenn_Maxwell) , Brett Lee (/wiki/Brett_Lee) , Tim Paine (/wiki/Tim_Paine) , and Marnus Labuschagne (/wiki/Marnus_Labuschagne) Kookaburra hockey (/wiki/Field_hockey) balls have been used in all Olympic Games (/wiki/Summer_Olympics) since 1956 and world cup (/wiki/Hockey_World_Cup) matches since 1984. The company also manufactures sticks (/wiki/Field_hockey_stick) and balls for Australian rules football (/wiki/Australian_rules_football) . [6] (#cite_note-6) See also [ edit ] Companies portal (/wiki/Portal:Companies) Fashion portal (/wiki/Portal:Fashion) Australia portal (/wiki/Portal:Australia) List of fitness wear brands (/wiki/List_of_fitness_wear_brands) British Cricket Balls Ltd (/wiki/British_Cricket_Balls_Ltd) Sanspareils Greenlands (/wiki/Sanspareils_Greenlands) List of oldest companies in Australia (/wiki/List_of_oldest_companies_in_Australia) References [ edit ] ^ (#cite_ref-1) "How the Renowned Kookaburra Ball Retains its Eminence in Cricket" (https://www.news18.com/cricketnext/news/how-the-renowned-kookaburra-ball-retains-its-eminence-in-cricket-1978961.html) . News18. 23 December 2018 . Retrieved 7 August 2023 . ^ (#cite_ref-2) "Kookaburra tale" (https://www.deccanherald.com/sports/kookaburra-tale-709512.html) . Deccan Herald. 23 December 2018 . Retrieved 7 August 2023 . ^ (#cite_ref-3) "MCC's silly point" (https://www.telegraph.co.uk/finance/2933559/MCCs-silly-point.html) . The Daily Telegraph (/wiki/The_Daily_Telegraph) . 4 March 2006 . Retrieved 7 August 2023 . ^ (#cite_ref-4) "The white ball wonder]" (http://blogs.cricinfo.com/different_strokes/archives/2006/01/the_white_ball.php) . Cricinfo (/wiki/Cricinfo) . 20 January 2006 . Retrieved 7 August 2023 . ^ (#cite_ref-5) "Three of a kind: The different balls used in Test cricket" (https://indianexpress.com/article/explained/three-of-a-kind-different-balls-used-in-test-cricket-5625340/) . 14 March 2019 . Retrieved 7 August 2023 . ^ (#cite_ref-6) "The immense popularity of Kookaburra Sport" (https://www.cricketworld.com/the-immense-popularity-of-kookaburra-sport/71936.htm) . Cricket World . Retrieved 7 August 2023 . External links [ edit ] Official website (https://www.kookaburrasport.com.au/) v t e Sports equipment (/wiki/Sports_equipment) brands This list includes companies that produce sports equipment. List by sport include only current products manufactured Multi-sports Acerbis (/wiki/Acerbis) Adidas (/wiki/Adidas) Admiral (/wiki/Admiral_Sportswear) AFA (/wiki/AFA_Sports) Alpine Pro (/wiki/Alpine_Pro) Anta (/wiki/Anta_Sports) Arc'teryx (/wiki/Arc%27teryx) Asics (/wiki/Asics) Atletica (/wiki/Atletica) BLK (/wiki/BLK_(sportswear)) Burley-Sekem (/wiki/Burley-Sekem) Castore (/wiki/Castore) Champion (/wiki/Champion_(sportswear)) Charly (/wiki/Charly_(brand)) Classic (/wiki/Classic_Sportswear) Descente (/wiki/Descente) Diadora (/wiki/Diadora) ERKE (/wiki/ERKE) Erreà (/wiki/Erre%C3%A0) EvoShield (/wiki/EvoShield) FBT (/wiki/FBT_(company)) Fila (/wiki/Fila) Fischer (/wiki/Fischer_(company)) 4F (/wiki/4F_(company)) Garcis (/wiki/Garcis) Givova (/wiki/Givova) Grand Sport (/wiki/Grand_Sport_Group) Grays (/wiki/Grays_International) Head (/wiki/Head_(company)) Hummel (/wiki/Hummel_International) ISC (/wiki/ISC_(sportswear)) Jako (/wiki/Jako) Joma (/wiki/Joma) Kappa (/wiki/Kappa_(brand)) Kelme (/wiki/Kelme_(company)) Kookaburra Le Coq Sportif (/wiki/Le_Coq_Sportif) Legea (/wiki/Legea) Li-Ning (/wiki/Li-Ning) Lotto (/wiki/Lotto_Sport_Italia) Luanvi (/wiki/Luanvi) Lululemon (/wiki/Lululemon_Athletica) Macron (/wiki/Macron_(sportswear)) Majestic (/wiki/Majestic_Athletic) Mikasa (/wiki/Mikasa_Sports) Mitchell & Ness (/wiki/Mitchell_%26_Ness) Mitre (/wiki/Mitre_Sports_International) Mizuno (/wiki/Mizuno_Corporation) Molten (/wiki/Molten_Corporation) Oakley (/wiki/Oakley,_Inc.) On (/wiki/On_(company)) NAAI (/wiki/NAAI) New Balance (/wiki/New_Balance) Nike (/wiki/Nike,_Inc.) Nivia (/wiki/Nivia_Sports) O'Neills (/wiki/O%27Neills) Peak (/wiki/Peak_Sport_Products) Penalty (/wiki/Penalty_(sports_manufacturer)) Poker (/wiki/Poker_(sports_manufacturer)) Pirma (/wiki/Pirma) Puma (/wiki/Puma_(brand)) Reebok (/wiki/Reebok) Reusch (/wiki/Reusch_(company)) Russell (/wiki/Russell_Athletic) Schutt (/wiki/Schutt_Sports) Scott (/wiki/Scott_Sports) Signia (/wiki/Signia_(sportswear)) Skins (/wiki/Skins_(sportswear)) Slazenger (/wiki/Slazenger) Sportika (/wiki/Sportika) Starter (/wiki/Starter_(clothing_line)) Topper (/wiki/Topper_(brand)) Uhlsport (/wiki/Uhlsport) Umbro (/wiki/Umbro) Under Armour (/wiki/Under_Armour) Voit (/wiki/Voit) XBlades (/wiki/XBlades) Xtep (/wiki/Xtep) Warrior (/wiki/Warrior_Sports) Warrix Sports (/wiki/Warrix_Sports) Wilson (/wiki/Wilson_Sporting_Goods) World Balance (/wiki/World_Balance) Yonex (/wiki/Yonex) 2XU (/wiki/2XU) Association football (/wiki/Association_football) Athleta (/wiki/Athleta_(company)) Bukta (/wiki/Bukta) Capelli 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Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Kookaburra_Sport&oldid=1226844579 (https://en.wikipedia.org/w/index.php?title=Kookaburra_Sport&oldid=1226844579) " Categories (/wiki/Help:Category) : Australian brands (/wiki/Category:Australian_brands) Sportswear brands (/wiki/Category:Sportswear_brands) Manufacturing companies established in 1890 (/wiki/Category:Manufacturing_companies_established_in_1890) 1890 establishments in Australia (/wiki/Category:1890_establishments_in_Australia) Cricket equipment manufacturers (/wiki/Category:Cricket_equipment_manufacturers) Manufacturing companies based in Melbourne (/wiki/Category:Manufacturing_companies_based_in_Melbourne) Sporting goods manufacturers of Australia (/wiki/Category:Sporting_goods_manufacturers_of_Australia) Hidden categories: Articles with short description (/wiki/Category:Articles_with_short_description) Short description is different from Wikidata (/wiki/Category:Short_description_is_different_from_Wikidata) Use dmy dates from November 2019 (/wiki/Category:Use_dmy_dates_from_November_2019) |
Type of visor Eyeshades Green eyeshades or dealer's visors are a type of visor (/wiki/Visor) that were worn most often from the late 19th century to the mid-20th century by accountants (/wiki/Accountant) , telegraphers (/wiki/Telegrapher) , copy editors (/wiki/Copy_editor) , and others engaged in vision-intensive, detail-oriented occupations to lessen eye strain [1] (#cite_note-1) due to early incandescent lights (/wiki/Incandescent_light) and candles, which tended to be harsh (the classic banker's lamp (/wiki/Banker%27s_lamp) had a green shade for similar reasons). [2] (#cite_note-2) Because they were often worn by people involved in accounting (/wiki/Accounting) , auditing (/wiki/Auditing) , economics, and budgeting, they became associated with these activities. [3] (#cite_note-3) Green eyeshades were often made of a transparent dark green- or blue-green-colored celluloid (/wiki/Celluloid) , although leather and paper were used to make the visor portion, as well. One manufacturer, the Featherweight Eyeshade Company, described their eyeshade as "healthful, color peculiarly restful to the eyes". [4] (#cite_note-4) They retain some popularity in the gambling community. [5] (#cite_note-5) Several individuals, including William Mahony, received patents for their eyeshade designs. [6] (#cite_note-6) In popular culture [ edit ] The Society of Professional Journalists (/wiki/Society_of_Professional_Journalists) annually recognizes deserving journalists working in the Southern United States (/wiki/Southern_United_States) with its Green Eyeshade Excellence in Journalism Award. [7] (#cite_note-7) The phrase "green eyeshades" can be used as a synecdoche (/wiki/Synecdoche) for individuals who are excessively concerned with financial matters or small and insignificant details. [ citation needed ] This kind of eyeshade is also a promotional item in the game Team Fortress 2 (/wiki/Team_Fortress_2) , appearing in that game and also in Poker Night at the Inventory (/wiki/Poker_Night_at_the_Inventory) , carried always by the same character. Patent for green eyeshade by W. F. Mahony in 1903 See also [ edit ] Sports portal (/wiki/Portal:Sports) Fashion portal (/wiki/Portal:Fashion) Sports visor (/wiki/Sports_visor) Sportswear (activewear) (/wiki/Sportswear_(activewear)) References [ edit ] ^ (#cite_ref-1) "Why AP Manual Entry Is Going the Way of the Green Visor - Kofax Advisor Blog" (https://web.archive.org/web/20181118081616/advisor.kofax.com/index.php/why-ap-manual-entry-is-going-the-way-of-the-green-visor/) . Kofax Advisor Blog . 2014-08-15. Archived from the original (http://advisor.kofax.com/index.php/why-ap-manual-entry-is-going-the-way-of-the-green-visor/) on 2018-11-18 . Retrieved 2018-11-17 . ^ (#cite_ref-2) "History of the original bankers lamp - The Bankers Lamp" (https://thebankerslamp.com/history-original-bankers-lamp/) . The Bankers Lamp . 2017-10-10 . Retrieved 2018-11-17 . ^ (#cite_ref-3) "Strange Visors Getting Their Moment in the Sun" (https://www.thecut.com/2014/04/strange-visors-getting-their-moment-in-the-sun.html) . The Cut . Retrieved 2018-11-17 . ^ (#cite_ref-4) New England Stationer and Printer . 1901. ^ (#cite_ref-5) Supply, Casino. "Search Results" (https://www.casinosupply.com/pages/search-results?q=dealer%20visor) . Casino Supply . Retrieved 2018-11-17 . ^ (#cite_ref-6) US patent 729500 (https://worldwide.espacenet.com/textdoc?DB=EPODOC&IDX=US729500) , W. F. Mahony, "Eye shade", issued May 26, 1903 ^ (#cite_ref-7) Society of Professional Journalists. "Green Eyeshade Awards - Excellence in Journalism" (http://www.greeneyeshade.org/) . Green Eyeshade Awards . 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Practice of female head covering in Christianity An Eastern Orthodox Christian woman wearing a headcovering at church; behind her is an icon of the early Christian virgin martyr Saint Tatiana of Rome (/wiki/Tatiana_of_Rome) , who is depicted with her head covered. Women who belong to the Hutterite Church (/wiki/Hutterite_Church) , an Anabaptist Christian denomination, wear their headcovering (usually in the form of an opaque hanging veil (/wiki/Hanging_veil) ) throughout the day. 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Some Christian women wear the head covering in public worship and during private prayer at home, [1] (#cite_note-Gleason2018-1) [2] (#cite_note-Gordon2015-2) [3] (#cite_note-Barth20192-3) while others (esp. Conservative Anabaptists (/wiki/Conservative_Anabaptism) ) believe women should wear head coverings at all times. [4] (#cite_note-Hartzler2013-4) Among Oriental (/wiki/Oriental_Orthodoxy) and Eastern Orthodox (/wiki/Eastern_Orthodoxy) Churches, certain theologians likewise teach that it is "expected of all women to be covered not only during liturgical periods of prayer, but at all times, for this was their honor and sign of authority given by our Lord", [5] (#cite_note-Nektarios2022-5) while others have held that headcovering should at least be done during prayer and worship. [6] (#cite_note-Nadian2023-6) [7] (#cite_note-SJEOC2021-7) Genesis 24:65 [8] (#cite_note-bibleverse|Genesis|24:65|NRSV-8) records the veil as a feminine emblem of modesty. [9] (#cite_note-Arquilevich1995-9) [10] (#cite_note-Ambrose-10) [1] (#cite_note-Gleason2018-1) Manuals of early Christianity (/wiki/Early_Christianity) , including the Didascalia Apostolorum (/wiki/Didascalia_Apostolorum) and Pædagogus (/wiki/Paedagogus) , instructed that a headcovering must be worn by women during prayer and worship as well as when outside the home. [11] (#cite_note-Gibson1903-11) [12] (#cite_note-Adams2013-12) When Saint Paul commanded women to be veiled in 1 Corinthians (/wiki/First_Epistle_to_the_Corinthians) , the surrounding pagan Greek women did not wear headcoverings; as such, the practice of Christian headcovering was countercultural (/wiki/Counterculture) in the Apostolic Era, being a biblical ordinance rather than a cultural tradition. [A] (#cite_note-17) [17] (#cite_note-Payne2015-18) [18] (#cite_note-Scroll2022-19) [19] (#cite_note-Phillips-20) [20] (#cite_note-Witherington1995-21) The style of headcovering varies by region, though Apostolic Tradition (/wiki/Apostolic_Tradition) specifies an "opaque cloth, not with a veil of thin linen". [21] (#cite_note-Hippolytus-22) Those enjoining the practice head covering for Christian women while "praying and prophesying" ground their argument in 1 Corinthians 11. [22] (#cite_note-23) [23] (#cite_note-Osburn2007-24) Denominations that teach that women should wear head coverings at all times additionally base this doctrine on Saint Paul (/wiki/Paul_the_Apostle) 's dictum that Christians are to "pray without ceasing" (1 Thessalonians 5:17), [24] (#cite_note-25) [25] (#cite_note-Almila2017-26) Saint Paul's (/wiki/Paul_the_Apostle) teaching that women being unveiled is dishonourable, and as a reflection of the created order. [B] (#cite_note-34) [25] (#cite_note-Almila2017-26) [33] (#cite_note-Schaff1889-35) [34] (#cite_note-36) Many Biblical scholars (/wiki/Biblical_studies) conclude that in 1 Corinthians 11 "verses 4-7 refer to a literal veil or covering of cloth" for "praying and prophesying" and hold verse 15 to refer to the hair of a woman given to her by nature. [35] (#cite_note-Bercot1992-37) [36] (#cite_note-Lee2018-38) [37] (#cite_note-Marlowe2008-39) [38] (#cite_note-Bernard1985-40) Christian headcovering with a cloth veil was the practice of the early Church, being universally taught by the Church Fathers (/wiki/Church_Fathers) and practiced by Christian women throughout history, [35] (#cite_note-Bercot1992-37) [2] (#cite_note-Gordon2015-2) [39] (#cite_note-ECD2021-41) [40] (#cite_note-42) continuing to be the ordinary practice among Christians in many parts of the world, such as Romania (/wiki/Romania) , Russia (/wiki/Russia) , Ukraine (/wiki/Ukraine) , Egypt (/wiki/Egypt) , Ethiopia (/wiki/Ethiopia) , India (/wiki/India) and Pakistan (/wiki/Pakistan) ; [41] (#cite_note-Walsh2019-43) [42] (#cite_note-Illini2020-44) [43] (#cite_note-Zăhăleanu2017-45) [44] (#cite_note-Gdaniec2010-46) [45] (#cite_note-Lindholm2012-47) additionally, among Conservative Anabaptists (/wiki/Conservative_Anabaptism) such as the Conservative Mennonite (/wiki/Conservative_Mennonites) churches and the Dunkard Brethren Church (/wiki/Dunkard_Brethren_Church) , headcovering is counted as an ordinance (/wiki/Ordinance_(Christianity)) of the Church, being worn throughout the day by women. [4] (#cite_note-Hartzler2013-4) [31] (#cite_note-DBC2021-32) However, in much of the Western world (/wiki/Western_world) the practice of head covering declined during the 20th century and in churches where it is not practiced, veiling as described 1 Corinthians 11 is usually taught as being a societal practice for the age in which the passage was written. [46] (#cite_note-PierceGroothuisFee2005-48) [47] (#cite_note-Greg2015-49) [48] (#cite_note-David1992-50) History [ edit ] Bible and the Early Church [ edit ] The biblical figure Ruth (/wiki/Ruth_(biblical_figure)) depicted wearing a head covering in the field of Boaz (painting by Julius Schnorr von Carolsfeld (/wiki/Julius_Schnorr_von_Carolsfeld) ) During the time of Moses (/wiki/Moses) , the Bible records that it was normative for women to wear a head covering (cf. Numbers 5:18 (https://en.wikisource.org/wiki/Bible_(King_James)/Numbers#5:18) ). [1] (#cite_note-Gleason2018-1) In Numbers 5:18, the sotah (/wiki/Ordeal_of_the_bitter_water) (meaning "one who goes astray") ritual, in which the head of a woman accused of adultery (/wiki/Adultery#Abrahamic_religions) is uncovered (made parua ), is explicated, implying that normally a woman's head is covered; the Talmud (/wiki/Talmud) thus teaches that the Torah (/wiki/Torah) (Pentateuch) commands women to go out in public with their heads covered. [49] (#cite_note-Barash2022-51) [50] (#cite_note-52) This headcovering worn during biblical times was a veil or headscarf (/wiki/Headscarf) . [51] (#cite_note-Baskin-53) In the Old Testament's Book of Daniel (/wiki/Book_of_Daniel) , Susanna (/wiki/Susanna_(Book_of_Daniel)) wore a headcovering and wicked men demanded that it be removed so that they might lust after her (cf. Susanna 13:31–33 (https://en.wikisource.org/wiki/Bible_(King_James)/Susanna#1:31) ). [1] (#cite_note-Gleason2018-1) Genesis 24:64–65 (https://en.wikisource.org/wiki/Bible_(King_James)/Genesis#24:64) records that Rebecca (/wiki/Rebecca) , while traveling to meet Isaac (/wiki/Isaac) , "did not flaunt her physical beauty" but "veiled herself, increasing her allure through an outward display of modesty." [1] (#cite_note-Gleason2018-1) The removal of a woman's veil in the passage of Isaiah 47:1–3 (https://en.wikisource.org/wiki/Bible_(King_James)/Isaiah#47:1) is linked with nakedness and shame. [52] (#cite_note-BudinTurfa2016-54) The biblical book Song of Songs (/wiki/Song_of_Songs) records "the erotic nature of hair from the verse, 'Your hair is as a flock of goats' ( Song of Songs , 4:1), i.e., from a verse praising her beauty." [53] (#cite_note-Ellinson1992-55) Jewish law around the time of Jesus stipulated that a married woman who uncovered her hair in public evidenced her infidelity. [54] (#cite_note-Weitz2005-56) Fresco in the Catacomb of Priscilla (/wiki/Catacomb_of_Priscilla) showing a veiled woman praying in the gesture of orans (/wiki/Orans) , supposed to be a consecrated virgin (/wiki/Consecrated_virgin) , 3rd century Multiple Church Fathers taught that the hair of a woman has sexual potency, therefore it should only be for her husband to see and covered the rest of the time. [55] (#cite_note-Milliken2020-57) [56] (#cite_note-Salisbury1992-58) 1 Corinthians 11:2–6 (https://en.wikisource.org/wiki/Bible_(King_James)/1_Corinthians#11:2) , teaches: "... keep the ordinances, as I delivered them to you. But I would have you know, that the head of every man is Christ; and the head of the woman is the man; and the head of Christ is God. Every man praying or prophesying, having his head covered, dishonoureth his head. But every woman that prayeth or prophesieth with her head uncovered dishonoureth her head: for that is even all one as if she were shaven. For if the woman be not covered, let her also be shorn: but if it be a shame for a woman to be shorn or shaven, let her be covered." [38] (#cite_note-Bernard1985-40) [57] (#cite_note-Phillips2014-59) In his explication of Saint Paul's command in 1 Corinthians 11:10 (https://en.wikisource.org/wiki/Bible_(King_James)/1_Corinthians#11:10) , the Church Father Irenaeus (/wiki/Irenaeus) ( c. 130 – c. 202 ), the last living connection to the Apostles (/wiki/Apostles_in_the_New_Testament) who penned Against Heresies (/wiki/Against_Heresies_(Irenaeus)) , explained that the "power" or "authority" on a woman's head when praying and prophesying was a cloth veil (κάλυμμα kalumma ). [58] (#cite_note-Price-60) The Church Father Hippolytus of Rome (/wiki/Hippolytus_of_Rome) ( c. 170 – c. 235 ) while giving instructions for church gatherings said "... let all the women have their heads covered with an opaque cloth, not with a veil of thin linen, for this is not a true covering." [35] (#cite_note-Bercot1992-37) [59] (#cite_note-61) The early Christian apologist Tertullian (/wiki/Tertullian) ( c. 155 – c. 220 ) likewise held that the covering should be a substantial one (cf. headscarf (/wiki/Headscarf) ): [60] (#cite_note-Bercot-62) Because you can't avoid wearing a veil, you should not find some other way to nullify it. That is, by going about neither covered nor bare. For some women do not veil their heads, but rather bind them up with turbans and woollen bands. It's true that they are protected in front. But where the head properly lies, they are bare. Others cover only the area of the brain with small linen coifs that do not even quite reach the ears. ... They should know that the entire head constitutes the woman. Its limits and boundaries reach as far as the place where the robe begins. The region of the veil is co-extensive with the space covered by the hair when it is unbound. In this way, the neck too is encircled. The pagan women of Arabia will be your judges. For they cover not only the head, but the face also. ... But how severe a chastisement will they likewise deserve, who remain uncovered even during the recital of the Psalms and at any mention of the name of God? For even when they are about to spend time in prayer itself, they only place a fringe, tuft [of cloth], or any thread whatever on the crown of their heads. And they think that they are covered! [60] (#cite_note-Bercot-62) In addition to praying and worshipping, the ancient Christian Didascalia Apostolorum (/wiki/Didascalia_Apostolorum) directed that Christian women should wear headcoverings in public: "Thou therefore who art a Christian [woman] ... if thou wishest to be faithful, please thy husband only, and when thou walkest in the market-place, cover thy head with thy garment, that by thy veil the greatness of thy beauty may be covered; do not adorn the face of thine eyes, but look down and walk veiled; be watchful, not to wash in the baths with men." [11] (#cite_note-Gibson1903-11) In the same vein, Clement of Alexandria (/wiki/Clement_of_Alexandria) ( c. 150 – c. 215 ), an early Christian theologian, instructed in Paedagogus (/wiki/Paedagogus) that "Woman and man are to go to church decently attired ... Let the woman observe this, further. Let her be entirely covered, unless she happen to be at home. For that style of dress is grave, and protects from being gazed at. And she will never fall, who puts before her eyes modesty, and her shawl; nor will she invite another to fall into sin by uncovering her face. For this is the wish of the Word, since it is becoming for her to pray veiled." [61] (#cite_note-Classical2012-63) [62] (#cite_note-64) Clement of Alexandria says: "Because of the angels". By the angels he means righteous and virtuous men. Let her be veiled then, that she may not lead them to stumble into fornication. For the real angels in heaven see her though veiled. [63] (#cite_note-65) Clement of Alexandria explicated this: "It has also been commanded that the head should be veiled and the face covered, for it is a wicked thing for beauty to be a snare to men. Nor is it appropriate for a woman to desire to make herself conspicuous by using a purple veil." [39] (#cite_note-ECD2021-41) Tertullian (/wiki/Tertullian) explains that in his days, the women of the Corinthian church from the age of puberty onwards (unmarried and married) were practicing Christian headcovering despite the fact that non-Christians in the region did not observe this ordinance; as such, the practice of Christians was countercultural (/wiki/Countercultural) . [C] (#cite_note-67) [20] (#cite_note-Witherington1995-21) [18] (#cite_note-Scroll2022-19) [65] (#cite_note-DanielHughes2011-68) [66] (#cite_note-Shank1992-69) [17] (#cite_note-Payne2015-18) In his deliberative treatise De virginibus velandis ("On the Veiling of Virgins") Tertullian argumented from scripture, natural law and Christian disclipline that from puberty virgins ought to be veiled when in public. [67] (#cite_note-70) The custom of some Carthaginian consecrated virgins (/wiki/Consecrated_virgin) not being veiled when the church gathered was sharply criticised as being contrary to the truth. This is only 150 years after the Apostle Paul (/wiki/Paul_the_Apostle) wrote 1 Corinthians (/wiki/First_Epistle_to_the_Corinthians) . He said, "So, too, did the Corinthians themselves understand [Paul]. In fact, at this day the Corinthians do veil their virgins [and married women]. What the apostles taught, their disciples approve." [68] (#cite_note-Anderson-71) [18] (#cite_note-Scroll2022-19) [69] (#cite_note-72) "Early church history bears witness that in Rome, Antioch, and Africa the custom [of wearing the head covering] became the norm [for the Church]." [70] (#cite_note-73) Author Cory Anderson stated that the reason for this is because early Christians understood Saint Paul's instruction to apply to the whole church. [68] (#cite_note-Anderson-71) Origen of Alexandria (/wiki/Origen_of_Alexandria) ( c. 185 – c. 253 ) wrote, "There are angels in the midst of our assembly ... we have here a twofold Church, one of men, the other of angels ... And since there are angels present ... women, when they pray, are ordered to have a covering upon their heads because of those angels. They assist the saints and rejoice in the Church." In the second half of the third century, women praying with their heads covered is mentioned as church practice by St. Victorinus in his commentary of the Apocalypse of John (/wiki/Book_of_Revelation) . [71] (#cite_note-74) The early Christian Acts of Thomas (/wiki/Acts_of_Thomas) , written in Syriac Aramaic (/wiki/Syriac_Aramaic) , assigns Hell (/wiki/Hell_in_Christianity) as the fate of women who did not wear a headcovering, stating: [37] (#cite_note-Marlowe2008-39) And he took me unto another pit, and I stooped and looked and saw mire and worms welling up, and souls wallowing there, and a great gnashing of teeth was heard thence from them. And that man said unto me: These are the souls of women which forsook their husbands and committed adultery with others, and are brought into this torment. Another pit he showed me whereinto I stooped and looked and saw souls hanging, some by the tongue, some by the hair, some by the hands, and some head downward by the feet, and tormented (smoked) with smoke and brimstone; concerning whom that man that was with me answered me: The souls which are hanged by the tongue are slanderers, that uttered lying and shameful words, and were not ashamed, and they that are hanged by the hair are unblushing ones which had no modesty and went about in the world bareheaded. [37] (#cite_note-Marlowe2008-39) "The Apostolic Constitutions (/wiki/Apostolic_Constitutions) [4th century AD] ... expressly commanded that the women should have their heads covered in the Church." [19] (#cite_note-Phillips-20) In the same era, the Early Church Father John Chrysostom (/wiki/John_Chrysostom) ( c. 347 – 407) delineated Saint Paul's teaching, explaining that Christian women should wear a cloth headcovering when in public in view of Saint Paul's comparison of a woman not wearing a veil to being shaven, which he states is "always dishonourable": [72] (#cite_note-OCIC-75) [33] (#cite_note-Schaff1889-35) Well then: the man he compelleth not to be always uncovered, but only when he prays. "For every man," saith he, "praying or prophesying, having his head covered, dishonoureth his head." But the woman he commands to be at all times covered. Wherefore also having said, "Every woman that prayeth or prophesieth with her head unveiled, dishonoureth her head," he stayed not at this point only, but also proceeded to say, "for it is one and the same thing as if she were shaven." But if to be shaven is always dishonourable, it is plain too that being uncovered is always a reproach. And not even with this only was he content, but he added again, saying, "The woman ought to have a sign of authority on her head, because of the angels". He signifies that not at the time of prayer only but also continually, she ought to be covered. But with regard to the man, it is no longer about covering but about wearing long hair, that he so forms his discourse. To be covered he then only forbids, when a man is praying; but the wearing of long hair he discourages at all times. [33] (#cite_note-Schaff1889-35) [72] (#cite_note-OCIC-75) John Chrysostom held that to be disobedient to the Christian teaching on veiling was harmful and sinful: "... the business of whether to cover one's head was legislated by nature (see 1 Cor 11:14–15). When I say 'nature', I mean 'God'. For he is the one who created nature. Take note, therefore, what great harm comes from overturning these boundaries! And don't tell me that this is a small sin." [73] (#cite_note-76) While at home, John Chrysostom taught that before picking up a copy of the Bible, in addition to washing one's hands (/wiki/Hygiene_in_Christianity#Washing_before_Christian_prayer_and_worship) , women (if not already veiled) should wear a headcovering "displaying a token of her inner piety". [74] (#cite_note-Trader2022-77) Jerome (/wiki/St._Jerome) ( c. 342 – c. 347 – 420) noted that the hair cap and the prayer veil is worn by Christian women in Egypt and Syria, who "do not go about with heads uncovered in defiance of the apostle's command, for they wear a close-fitting cap and a veil". [75] (#cite_note-78) Augustine of Hippo (/wiki/Augustine_of_Hippo) (354 – 430) writes about the head covering, "It is not becoming, even in married women, to uncover their hair, since the apostle commands women to keep their heads covered." [76] (#cite_note-79) Early Christian art (/wiki/Early_Christian_art_and_architecture) also confirms that women wore headcoverings during this time period. [77] (#cite_note-80) [18] (#cite_note-Scroll2022-19) Middle Ages and Modern Era [ edit ] A wimple (/wiki/Wimple) as shown in Portrait of a Woman , circa 1430–1435, by Robert Campin (/wiki/Robert_Campin) (1375/1379–1444), National Gallery, London. The wimple features four layers of cloth, and the pins holding it in place are visible at the top of the head. Until at least the 19th century and still extant in certain regions, the wearing of a head covering, both in the public and while attending church, was regarded as customary for Christian women, in line with the injunction to do so in 1 Corinthians 11 (/wiki/1_Corinthians_11) , in the Mediterranean, European, Indian, Middle Eastern, and African societies. [78] (#cite_note-Hunt2014-81) [79] (#cite_note-Anderson2019-82) [80] (#cite_note-BalzaniBesnier2021-83) [81] (#cite_note-Hammond2018-84) [82] (#cite_note-Ramdin2000-85) [41] (#cite_note-Walsh2019-43) [57] (#cite_note-Phillips2014-59) [83] (#cite_note-ToopsPetersonAnderson2018-86) With the custom of Christian headcovering being practiced for centuries, in the Middle Ages, a woman who did not wear a head covering was interpreted to be "a prostitute or adulteress", though this was not the case in the preceding Ante-Nicene period (/wiki/Christianity_in_the_ante-Nicene_period) during which pagan Greek women went about in public and prayed bareheaded (in contrast to the Christian women who veiled themselves). [78] (#cite_note-Hunt2014-81) [84] (#cite_note-Safran2014-87) [18] (#cite_note-Scroll2022-19) [64] (#cite_note-Pusey1842-66) Christian literature, with respect to demonology, has documented that during exorcisms (/wiki/Exorcism_in_Christianity) , possessed women have attempted to tear off their headcovering, as with the case of Frances Bruchmüllerin in Sulzbach. [85] (#cite_note-EvansBartholomew2009-88) [86] (#cite_note-89) The practice of headcovering continues to be the ordinary practice among Christian women in many parts of the world, such as Romania (/wiki/Romania) , Russia (/wiki/Russia) , Ukraine (/wiki/Ukraine) , Ethiopia (/wiki/Ethiopia) , Eritrea (/wiki/Eritrea) , Egypt (/wiki/Egypt) , India (/wiki/India) and Pakistan (/wiki/Pakistan) . [41] (#cite_note-Walsh2019-43) [43] (#cite_note-Zăhăleanu2017-45) [87] (#cite_note-Mitchell2007-90) [1] (#cite_note-Gleason2018-1) [88] (#cite_note-Mingus2015-91) [45] (#cite_note-Lindholm2012-47) In the West, "up until World War I, a woman slipped on a white cap immediately upon arising...and some type of hat or bonnet was worn every time she left the house." [79] (#cite_note-Anderson2019-82) [89] (#cite_note-Fischer-Mirkin1995-92) The custom has declined in America and Western Europe, though certain Christian denominations (such as those of Conservative Anabaptism (/wiki/Conservative_Anabaptism) ) continue to require it and many Christian women continue to observe the ancient practice. [7] (#cite_note-SJEOC2021-7) [3] (#cite_note-Barth20192-3) David Bercot (/wiki/David_Bercot) , a scholar on early Christianity (/wiki/Early_Christianity) , noted that relatively recent interpretations in the Western World that do not necessitate the wearing of headcoverings by women, in contrast to the historic practice of female Christian veiling, are linked with the rise of feminism in the 20th century (/wiki/Second-wave_feminism) . [90] (#cite_note-Williams2005-93) [47] (#cite_note-Greg2015-49) [91] (#cite_note-Mooney-94) In 1968, American feminist group — the National Organization for Women (/wiki/National_Organization_for_Women) — released a "Resolution on Head Coverings": [92] (#cite_note-Katzenstein2021-95) WHEREAS, the wearing of a head covering by women at religious services is a custom in many churches and whereas it is a symbol of subjection within these churches, NOW recommends that all chapters undertake an effort to have all women participate in a "national unveiling" by sending their head coverings to the task force chairman immediately. At the Spring meeting of the Task force on Women in Religion, these veils will then publicly be burned to protest the second class status of women in all churches." [92] (#cite_note-Katzenstein2021-95) [93] (#cite_note-NOW1968-96) In Milwaukee, Wisconsin, in 1969, fifteen women from the Milwaukee chapter of the National Organization for Women protested in St. John de Nepomuc Catholic Church; after taking their place at the communion rail, the women removed their hats and placed them on the communion rail. [94] (#cite_note-97) The following week, the Milwaukee Sentinel published a letter to the editor from "Mrs. M. E., Milwaukee," who felt that the protest was "immature exhibitionism." [92] (#cite_note-Katzenstein2021-95) [95] (#cite_note-98) A text printed after the close of the 20th century reflects a general Western Christian attitude towards the practice of head covering for women, with American authors Ronald W. Pierce, Rebecca Merrill Groothuis, and Gordon D. Fee opining in the book "Discovering Biblical Equality": [46] (#cite_note-PierceGroothuisFee2005-48) First Corinthians 11:3-16 deals with the significance of a "head covering" for women while they are praying and prophesying in the gathered church. The significance of a head covering appears to be a cultural factor that is quite diverse in various times and places. Indeed, because of the diverse nature Corinth itself—a Roman colony situated at the center of the Greek world—it is nearly impossible to know for certain what would have been normal for Corinthian culture as such. In the contemporary world, such head coverings (whatever they were in fact) have little to no social significance. Thus this is rightly understood to be a cultural issue and a matter of personal choice for a believer today. [46] (#cite_note-PierceGroothuisFee2005-48) Nevertheless, in the 21st century, the practice of headcovering is being revived in the Western World among some women belonging to various Christian congregations where the practice lapsed, though other denominations have practiced the biblical ordinance perpetually, as with Dunkard Brethren (/wiki/Dunkard_Brethren) or Conservative Mennonites (/wiki/Conservative_Mennonites) , the latter of which count headcovering among the seven ordinances (/wiki/Ordinance_(Christianity)) of the Church. [4] (#cite_note-Hartzler2013-4) [96] (#cite_note-Tomlinson2014-99) [97] (#cite_note-Harmon2018-100) [98] (#cite_note-Loop20202-101) [99] (#cite_note-102) [100] (#cite_note-Allen2016-103) In particular, Catholics have seen a slight revival of veiling in women. [101] (#cite_note-104) The sociologist Cory Anderson stated that for those Christian women who continually wear it, such as Conservative Anabaptists (/wiki/Conservative_Anabaptist) , the headcovering serves as an outward testimony (/wiki/Testimony#Religion) that often allows for evangelism (/wiki/Evangelism) . [68] (#cite_note-Anderson-71) Styles [ edit ] With respect to the early Church, Tom Shank concluded that there were a variety of headcoverings worn by the early Christians, ranging from shawls to kapps: "William McGrath (1991) found that etchings in the Catacomb of Domitila in Rome — dating as far back as A.D. 95 — show 'modestly dressed sisters wearing the cap style veiling.' Warren Henderson, writing about the catacombs, also observed that women covered their heads, but emphasized the cloth styles." [68] (#cite_note-Anderson-71) In the present-day, various styles of headcoverings are worn by Christian women: Region Headcovering Image Eastern Europe (/wiki/Eastern_Europe) headscarf (/wiki/Headscarf) [102] (#cite_note-Yegorov2019-105) Latin America (/wiki/Latin_America) , Spain (/wiki/Spain) mantilla (/wiki/Mantilla) [103] (#cite_note-106) Middle East (/wiki/Middle_East) , Indian subcontinent (/wiki/Indian_subcontinent) , Russia (/wiki/Russia) shawl (/wiki/Shawl) [104] (#cite_note-Zuck2006-107) West Africa (/wiki/West_Africa) , Caribbean (/wiki/Caribbean) , North America (/wiki/North_America) head tie (/wiki/Head_tie) [105] (#cite_note-Lum2000-108) India (/wiki/India) , Pakistan (/wiki/Pakistan) dupatta (/wiki/Dupatta) [106] (#cite_note-Flinn2014-109) Romania (/wiki/Romania) maramă (/wiki/Maram%C4%83) [107] (#cite_note-Shaw2016-110) Romania (/wiki/Romania) batik [43] (#cite_note-Zăhăleanu2017-45) Ethiopia (/wiki/Ethiopia) , Eritrea (/wiki/Eritrea) netela (/wiki/Netela) North America (/wiki/North_America) kapp (/wiki/Kapp_(headcovering)) , sometimes with a bonnet (/wiki/Bonnet_(headgear)) (among many Amish (/wiki/Amish) , Mennonites (/wiki/Mennonites) , Schwarzenau Brethren (/wiki/Schwarzenau_Brethren) , River Brethren (/wiki/River_Brethren) , and Conservative Quakers (/wiki/Conservative_Friends) ) [108] (#cite_note-Schrock2022-111) hanging veil (/wiki/Hanging_veil) (among many Mennonites, Hutterites (/wiki/Hutterites) and Charity Christians (/wiki/Charity_Ministries) ) [109] (#cite_note-Hochstetler2002-112) [110] (#cite_note-Scott1996-113) [111] (#cite_note-Hume20132-114) church crown (/wiki/Church_crown) (in the Southern United States (/wiki/Southern_United_States) ) [112] (#cite_note-SL-115) [32] (#cite_note-OYM2022-33) kapp hanging veil church crown Iraq (/wiki/Iraq) , Syria (/wiki/Syria) , Iran (/wiki/Iran) , Turkey (/wiki/Turkey) yalekhta [113] (#cite_note-Chicago-116) Denominational practices [ edit ] Many women of various Christian denominations around the world continue to practice head covering during worship and while praying at home, [42] (#cite_note-Illini2020-44) [114] (#cite_note-Reagan1994-117) as well as when going out in public. [41] (#cite_note-Walsh2019-43) [43] (#cite_note-Zăhăleanu2017-45) [87] (#cite_note-Mitchell2007-90) This is true especially in parts of the Middle East (/wiki/Middle_East) , the Indian subcontinent (/wiki/Indian_subcontinent) , and Eastern Europe (/wiki/Eastern_Europe) (such as Western Moldavia (/wiki/Western_Moldavia) ). [41] (#cite_note-Walsh2019-43) [88] (#cite_note-Mingus2015-91) [115] (#cite_note-Haji2011-118) [1] (#cite_note-Gleason2018-1) [43] (#cite_note-Zăhăleanu2017-45) [87] (#cite_note-Mitchell2007-90) Western Christianity [ edit ] At the start of the 20th century, it was commonplace for women in mainstream Christian denominations (/wiki/Christian_denominations) of Western Christianity around the world to wear head coverings during church services (/wiki/Church_services) . [47] (#cite_note-Greg2015-49) [83] (#cite_note-ToopsPetersonAnderson2018-86) These included Anabaptist (/wiki/Anabaptist) , [116] (#cite_note-Bronner20152-119) [111] (#cite_note-Hume20132-114) Anglican (/wiki/Anglican) , [117] (#cite_note-Hodgkin2018-120) Catholic (/wiki/Catholic_Church) , [97] (#cite_note-Harmon2018-100) [118] (#cite_note-121) Lutheran (/wiki/Lutheran) , [119] (#cite_note-SC2-122) [120] (#cite_note-123) Methodist (/wiki/Methodist) , [121] (#cite_note-Morgan20102-124) Moravian (/wiki/Moravian_Church) , [122] (#cite_note-Levering19032-125) Plymouth Brethren (/wiki/Plymouth_Brethren) , [98] (#cite_note-Loop20202-101) Quaker (/wiki/Quaker) , [123] (#cite_note-Levine20222-126) and Reformed (/wiki/Calvinism) . [124] (#cite_note-Murray19922-127) [3] (#cite_note-Barth20192-3) Those women who belong to Anabaptist traditions are especially known for wearing them throughout the day. [125] (#cite_note-Kraybill2010-128) [126] (#cite_note-Kidder2017-129) Western women formerly wore bonnets (/wiki/Bonnet_(headgear)) as their headcoverings, and later, hats became predominant. [127] (#cite_note-Courtais2006-130) [128] (#cite_note-MarkVaughan2004-131) This practice has generally declined in the Western world (/wiki/Western_world) , though headcoverings for women are common during formal services such as weddings (/wiki/Wedding) , in the United Kingdom (/wiki/United_Kingdom) . [129] (#cite_note-Barrett2011-132) [130] (#cite_note-Cathcart2017-133) [117] (#cite_note-Hodgkin2018-120) Among many adherents of Western Christian denominations in the Eastern Hemisphere (/wiki/Eastern_Hemisphere) (such as in the Indian subcontinent), head covering remains normative. [42] (#cite_note-Illini2020-44) [125] (#cite_note-Kraybill2010-128) [131] (#cite_note-134) [2] (#cite_note-Gordon2015-2) Anabaptist [ edit ] Amish (/wiki/Amish) women wearing kapps (/wiki/Kapp_(headcovering)) Many Anabaptist women wear headcoverings as a part of their plain dress (/wiki/Plain_dress) . [132] (#cite_note-135) This includes Mennonites (/wiki/Mennonites) (e.g. Old Order Mennonites (/wiki/Old_Order_Mennonites) and Conservative Mennonites (/wiki/Conservative_Mennonites) ), River Brethren (/wiki/River_Brethren) ( Old Order River Brethren (/wiki/Old_Order_River_Brethren) and Calvary Holiness Church (/wiki/Calvary_Holiness_Church_(Philadelphia)) ), [133] (#cite_note-Lewis2002-136) Hutterites (/wiki/Hutterites) , [134] (#cite_note-137) Bruderhof (/wiki/Bruderhof) , [116] (#cite_note-Bronner20152-119) Schwarzenau Brethren (/wiki/Schwarzenau_Brethren) ( Old Order Schwarzenau Brethren (/wiki/Old_Order_Brethren) and Dunkard Brethren Church (/wiki/Dunkard_Brethren_Church) ), [135] (#cite_note-138) Amish (/wiki/Amish) , Apostolic Christians (/wiki/Apostolic_Christian_Church) and Charity Christians (/wiki/Charity_Christian_Fellowship) . [110] (#cite_note-Scott1996-113) [108] (#cite_note-Schrock2022-111) Headcovering is among the seven ordinances (/wiki/Ordinance_(Christianity)) of Conservative Mennonites (/wiki/Conservative_Mennonites) , as with the Dunkard Brethren (/wiki/Dunkard_Brethren) . [4] (#cite_note-Hartzler2013-4) [31] (#cite_note-DBC2021-32) Catholic [ edit ] Mantillas (/wiki/Mantilla) made of white lace, during a Holy Week (/wiki/Holy_Week) procession in Spain (/wiki/Spain) Catholic women in the Philippines (/wiki/Philippines) prepare to attend Mass Headcovering for women was unanimously held by the Latin Church (/wiki/Latin_Church) until the 1983 Code of Canon Law (/wiki/1983_Code_of_Canon_Law) came into effect. [136] (#cite_note-Henold2008-139) A headcovering in the Catholic tradition carries the status of a sacramental (/wiki/Sacramental) . [137] (#cite_note-Bandzuch2019-140) [138] (#cite_note-Lamontagne2017-141) Historically, women were required to veil their heads when receiving the Eucharist (/wiki/Eucharist) following the Councils of Autun (/wiki/Roman_Catholic_Diocese_of_Autun) and Angers. [139] (#cite_note-142) Similarly, in 585, the Synod of Auxerre (/wiki/Ancient_Diocese_of_Auxerre) (France) stated that women should wear a head-covering during the Holy Mass (/wiki/Mass_(liturgy)) . [140] (#cite_note-143) [141] (#cite_note-144) The Synod of Rome (/wiki/Synod_of_Rome) in 743 declared that "A woman praying in church without her head covered brings shame upon her head, according to the word of the Apostle", [142] (#cite_note-145) a position later supported by Pope Nicholas I (/wiki/Pope_Nicholas_I) in 866, for church services." [143] (#cite_note-146) In the Middle Ages (/wiki/Middle_Ages) , Thomas Aquinas (/wiki/Thomas_Aquinas) (1225–1274) said that "the man existing under God should not have a covering over his head to show that he is immediately subject to God; but the woman should wear a covering to show that besides God she is naturally subject to another." [144] (#cite_note-147) In the 1917 Code of Canon Law (/wiki/1917_Code_of_Canon_Law) it was a requirement that women cover their heads in church. It said, "women, however, shall have a covered head and be modestly dressed, especially when they approach the table of the Lord." [145] (#cite_note-148) Veiling was not specifically addressed in the 1983 revision of the Code (/wiki/Canon_law_(Catholic_Church)#Codification) , which declared the 1917 Code abrogated. [146] (#cite_note-149) According to the new Code, former law only has interpretive weight in norms that are repeated in the 1983 Code; all other norms are simply abrogated. [97] (#cite_note-Harmon2018-100) This effectively eliminated the former requirement for a headcovering for Catholic women, by silently dropping it in the new Code of Canon. In some countries, like India (/wiki/India) , the wearing of a headscarf by Catholic women remains the norm. The Eucharist has been refused to ladies who present themselves without a headcovering. [147] (#cite_note-Shaju2021-150) Traditional Catholic (/wiki/Traditional_Catholic) and Plain Catholic women continue to practice headcovering, even while most Catholic women in western society no longer do so. [148] (#cite_note-DeMello20122-151) Lutheran [ edit ] Martin Luther (/wiki/Martin_Luther) , the father of the Lutheran (/wiki/Lutheran) tradition, encouraged wives to wear a veil in public worship. [149] (#cite_note-152) The General Rubrics of the Evangelical Lutheran Synodical Conference of North America (/wiki/Evangelical_Lutheran_Synodical_Conference_of_North_America) , as contained in "The Lutheran Liturgy", state in a section titled "Headgear for Women": "It is laudable custom, based upon a Scriptural injunction (1 Cor. 11:3-15), for women to wear an appropriate head covering in Church, especially at the time of divine service." [150] (#cite_note-SC-153) Some Lutheran women wear the headcovering during the celebration of the Divine Service (/wiki/Divine_Service_(Lutheran)) and in private prayer. [151] (#cite_note-154) Moravian/Hussite [ edit ] Female dieners in the Moravian Church (/wiki/Moravian_Church) serving bread to fellow members of their congregation during the celebration in a lovefeast (/wiki/Lovefeast) are seen wearing headcoverings. Moravian (/wiki/Moravian_Church) ladies wear a lace headcovering called a haube , when serving as dieners in the celebration of lovefeasts (/wiki/Lovefeast) . [152] (#cite_note-Crump20132-155) Reformed [ edit ] Headcovering in the Restored Reformed Church (/wiki/Restored_Reformed_Church) of Doornspijk (/wiki/Doornspijk) In the Reformed (/wiki/Calvinism) tradition, both John Calvin (/wiki/John_Calvin) , the founder of the Continental Reformed Churches (/wiki/Continental_Reformed_Protestantism) , and John Knox (/wiki/John_Knox) , the founder of the Presbyterian Churches (/wiki/Presbyterian_Church) , both called for women to wear head coverings. [153] (#cite_note-Snodgrass2015-156) [154] (#cite_note-Reasoner2021-157) Calvin taught that headcovering was the cornerstone of modesty for Christian women and held that those who removed their veils from their hair would soon come to remove the clothing covering their breasts and that covering their midriffs (/wiki/Midriff) , leading to societal indecency: [155] (#cite_note-CalvinPringle1848-158) So if women are thus permitted to have their heads uncovered and to show their hair, they will eventually be allowed to expose their entire breasts, and they will come to make their exhibitions as if it were a tavern show; they will become so brazen that modesty and shame will be no more; in short they will forget the duty of nature...Further, we know that the world takes everything to its own advantage. So, if one has liberty in lesser things, why not do the same with this the same way as with that? And in making such comparisons they will make such a mess that there will be utter chaos. So, when it is permissible for the women to uncover their heads, one will say, 'Well, what harm in uncovering the stomach also?' And then after that one will plead for something else; 'Now if the women go bareheaded, why not also bare this and bare that?' Then the men, for their part, will break loose too. In short, there will be no decency left, unless people contain themselves and respect what is proper and fitting, so as not to go headlong overboard. [156] (#cite_note-159) Furthermore, Calvin stated "Should any one now object, that her hair is enough, as being a natural covering, Paul says that it is not, for it is such a covering as requires another thing to be made use of for covering it." [155] (#cite_note-CalvinPringle1848-158) Other Reformed supporters of headcovering include: William Greenhill (/wiki/William_Greenhill) , William Gouge (/wiki/William_Gouge) , John Lightfoot (/wiki/John_Lightfoot) , Thomas Manton (/wiki/Thomas_Manton) , Christopher Love (/wiki/Christopher_Love) , John Bunyan (/wiki/John_Bunyan) , John Cotton (/wiki/John_Cotton_(minister)) , Ezekiel Hopkins (/wiki/Ezekiel_Hopkins) , David Dickson (/wiki/David_Dickson_(minister)) , and James Durham (/wiki/James_Durham_(minister)) . [157] (#cite_note-Silversides1996-160) Other Reformed figures of the 16th and 17th centuries held that head covering was a cultural institution, including Theodore Beza (/wiki/Theodore_Beza) , [158] (#cite_note-161) William Whitaker (/wiki/William_Whitaker_(theologian)) , [159] (#cite_note-162) [160] (#cite_note-163) Daniel Cawdry (/wiki/Daniel_Cawdry) , [161] (#cite_note-164) and Herbert Palmer (/wiki/Herbert_Palmer_(Puritan)) , [162] (#cite_note-165) Matthew Poole (/wiki/Matthew_Poole) , [163] (#cite_note-166) and Francis Turretin (/wiki/Francis_Turretin) . [164] (#cite_note-167) [165] (#cite_note-168) The commentary (/wiki/List_of_biblical_commentaries) within the Geneva Bible (/wiki/Geneva_Bible) implies that Paul's admonition is cultural rather than perpetual. [166] (#cite_note-169) Women cover their heads in conservative Reformed (/wiki/Continental_Reformed_Protestantism) and Presbyterian (/wiki/Presbyterian) churches, such as the Heritage Reformed Congregations (/wiki/Heritage_Reformed_Congregations) , Netherlands Reformed Congregations (/wiki/Netherlands_Reformed_Congregations) , Free Presbyterian Church of Scotland (/wiki/Free_Presbyterian_Church_of_Scotland) , Free Presbyterian Church of North America (/wiki/Free_Presbyterian_Church_of_North_America) and Presbyterian Reformed Church. [167] (#cite_note-Mooney2020-170) [168] (#cite_note-Yin2018-171) [169] (#cite_note-172) [124] (#cite_note-Murray19922-127) Methodist [ edit ] John Wesley (/wiki/John_Wesley) , a principal father of Methodism (/wiki/Methodism) , held that a woman, "especially in a religious assembly", should "keep on her veil". [170] (#cite_note-173) [171] (#cite_note-Dunlap1994-174) [172] (#cite_note-Brown2011-175) The Methodist divines Thomas Coke (/wiki/Thomas_Coke_(bishop)) , Adam Clarke (/wiki/Adam_Clarke) , Joseph Sutcliffe, Joseph Benson (/wiki/Joseph_Benson) and Walter Ashbel Sellew (/wiki/Walter_Ashbel_Sellew) , reflected the same position — that veils are enjoined for women, while caps are forbidden to men while praying. [172] (#cite_note-Brown2011-175) [173] (#cite_note-Sellew1903-176) Conservative Methodist women, like those belonging to the Fellowship of Independent Methodist Churches (/wiki/Fellowship_of_Independent_Methodist_Churches) , wear headcoverings. [174] (#cite_note-CHC1986-177) Deaconesses (/wiki/Deaconess) in certain Methodist connexions, such as the African Methodist Episcopal Zion Church (/wiki/African_Methodist_Episcopal_Zion_Church) and the Pillar of Fire Church (/wiki/Pillar_of_Fire_Church) , wear a deaconess cap. [175] (#cite_note-178) [176] (#cite_note-179) Quaker [ edit ] The Central Yearly Meeting of Friends (/wiki/Central_Yearly_Meeting_of_Friends) , part of the Gurneyite-Orthodox branch of Quakerism, teaches that in 1 Corinthians 11 (https://www.biblegateway.com/passage/?search=1+Corinthians+11&version=rsv) Saint Paul instituted the veiling of women as "a Christian woman's way of properly honoring the headship of men in the church and of making a statement of submission to their authority (vs. 3, 5)." [177] (#cite_note-CYMF2018-180) The wearing of a veil is thus "the statement of genuine Christian piety and submission." [177] (#cite_note-CYMF2018-180) The same passage, in the view of the Central Yearly Meeting, teaches that in addition to a head covering, verses 14 and 15 teach that "nature has endowed women with a natural covering which is their long hair". [177] (#cite_note-CYMF2018-180) Given this, the Central Yearly Meeting holds that: [177] (#cite_note-CYMF2018-180) While there are groups of Christians today who make their statement of submission by wearing coverings in keeping with this passage of Scripture, there are others who feel that in the present culture their long hair is sufficient to make such a statement. While we believe it is for those who wish to wear a covering to do so as a fine and becoming statement of submission, we urge them also to have their long and uncut. We believe regarding those Christian women who do not wear a covering that while it is proper for them to have their hair long, their long hair may not necessarily be a statement of piety since others in the world may have the same. For this reason, we believe that a Christian woman [who does not wear a head covering] makes her best statement of piety and submission by wearing her hair done up in a manner that is both feminine and unassuming. [177] (#cite_note-CYMF2018-180) Conservative Friends (Quaker) (/wiki/Conservative_Friends) women, including some from the Ohio Yearly Meeting (Conservative), wear headcoverings usually in the form of a "scarf, bonnet, or cap." [32] (#cite_note-OYM2022-33) Plymouth Brethren [ edit ] Plymouth Brethren (/wiki/Plymouth_Brethren) women wear a headscarf during worship, in addition to wearing some form of headcovering in public. [178] (#cite_note-PBCC2022-181) Baptist [ edit ] Roger Williams (/wiki/Roger_Williams) , the founder of the first Baptist (/wiki/Baptist) movement in North America, taught that women should veil themselves during worship as this was the practice of the early Church. [179] (#cite_note-Pestana2004-182) Pentecostal [ edit ] Women belonging to the Samoan Assemblies of God Church (/wiki/Samoan_Assemblies_of_God_in_New_Zealand_Incorporated) , a Pentecostal denomination, are seen wearing hats during worship. The wearing of a head covering during Pentecostal worship was the normative practice from its inception; in the 1960s, "head coverings stopped being obligatory" in many Pentecostal denominations of Western Europe, when, "with little debate", many Pentecostals "had absorbed elements of popular culture". [180] (#cite_note-KayDyer2011-183) Certain Pentecostal Churches (/wiki/Pentecostals) , such as the Church of Our Lord Jesus Christ of the Apostolic Faith (/wiki/Church_of_Our_Lord_Jesus_Christ) , Ukrainian Pentecostal Church, and the Christian Congregation (/wiki/Christian_Congregation_(Pentecostal)) continue to observe the veiling of women. [181] (#cite_note-Brereton2002-184) [182] (#cite_note-185) [183] (#cite_note-Luke2016-186) Restorationist [ edit ] Among certain congregations of the Church of Christ (/wiki/Churches_of_Christ) , it is customary for women to wear headcoverings. [184] (#cite_note-Kercheville2006-187) The Davidian Seventh-day Adventist Church (/wiki/Shepherd%27s_Rod) , in its official organ The Symbolic Code , teaches that women are to wear a head covering anytime when worshipping, both at church and at home, in view of 1 Corinthians 11 (https://www.biblegateway.com/passage/?search=1+Corinthians+11&version=rsv) . [185] (#cite_note-188) [186] (#cite_note-Dube2019-189) Female members of Jehovah's Witnesses (/wiki/Jehovah%27s_Witnesses) may only lead prayer and teaching when no baptized (/wiki/Baptism) male is available to, and must do so wearing a head covering. [187] (#cite_note-Head_Coverings_—_When_and_Why?-190) [188] (#cite_note-191) Shakers [ edit ] The Shakers (/wiki/Shakers) during a service of worship In the United Society of Believers in Christ's Second Appearing (/wiki/Shakers) , Shaker girls and women wear a headcovering as a part of their daily wear. [189] (#cite_note-Stein1992-192) These are in the form of a white cap. [189] (#cite_note-Stein1992-192) Historically, these were sown by Shaker women themselves, though in the middle of the 20th century, the rise of ready-made clothing allowed for the purchase of the same. [189] (#cite_note-Stein1992-192) Eastern Christianity [ edit ] Women of the Russian Orthodox Old-Rite Church (/wiki/Russian_Orthodox_Old-Rite_Church) wearing headcoverings Among the churches of Eastern Christianity (/wiki/Eastern_Christianity) (including the Eastern Catholic (/wiki/Eastern_Catholic) , Eastern Orthodox (/wiki/Eastern_Orthodox) and Eastern Lutheran (/wiki/Eastern_Lutheran) traditions), it has been traditionally customary for women to cover their heads with a headscarf while in church (and oftentimes in the public too); an example of this practice occurs among the Orthodox Christians in the region of Western Moldavia (/wiki/Western_Moldavia) , among other areas. [43] (#cite_note-Zăhăleanu2017-45) [44] (#cite_note-Gdaniec2010-46) [87] (#cite_note-Mitchell2007-90) [190] (#cite_note-Babudro1997-193) In Albania (/wiki/Albania) , Christian women traditionally have worn white veils (/wiki/Veils) . [191] (#cite_note-Dillon-194) [192] (#cite_note-Jacques2009-195) Eastern Orthodox [ edit ] An ancient Orthodox Christian prayer titled the "Prayer for binding up the head of a woman" has been used liturgically for the blessing of a woman's headcovering(s), which was historically worn by an Orthodox Christian woman at all times with the exception of sleeping: [5] (#cite_note-Nektarios2022-5) O God, you who have spoken through the prophets and proclaimed that in the final generations the light of your knowledge will be for all nations, you who desire that no human created by your hands remain devoid of salvation, you who through the apostle Paul, your elected instrument, ordered us to do everything for your glory, and through him you instituted laws for men and women who live in the faith, namely that men offer praise and glory to your holy name with an uncovered head, while women, fully armed in your faith, covering the head, adorn themselves in good works and bring hymns and prayers to your glory with modesty and sobriety; you, O master of all things, bless this your servant and adorn her head with an ornament that is acceptable and pleasing to you, with gracefulness, as well as honour and decorum, so that conducting herself according to your commandments and educating the members (of her body) toward self-control, she may attain your eternal benefits together with the one who binds her (head) up. In Jesus Christ our Lord, with whom to you belongs glory together with the most holy, good and life-giving Spirit, now and ever (and unto the ages of ages). [5] (#cite_note-Nektarios2022-5) Alexei Trader, the Eastern Orthodox bishop of the Diocese of Sitka and Alaska, delineated the teaching of the Church on a Christian woman's headcovering: [74] (#cite_note-Trader2022-77) In the Orthodox Church, the act of placing something under or behind a veil sets it apart as special, as something to be revered and respected, similar to the role played by the temple veil of the Holy of Holies in Jerusalem. Thus, there is a connection between a woman's veil with covering and revering that which is precious, such as the chalice that contains the wine that will become the Most-pure blood of Christ. And those coverings themselves also become holy. We can see this in the account of the Byzantine Empress Eudokia who donated her personal veil/head-covering to a monastery for use as an altar cloth. Of all articles of clothing, only a woman's head-covering could become a vestment for the holy altar, for it is already a kind of vestment. [74] (#cite_note-Trader2022-77) Bishop Alexei further stated that "Every Orthodox woman who wears a veil or head-covering is also blessed by that veil of the Mother of God, which miraculously and repeatedly protected the faithful from so much harm." [74] (#cite_note-Trader2022-77) Women belonging to the community of Old Believers (/wiki/Old_Believers) wear opaque Christian headcoverings, with those who are married keeping a knitted bonnet known as a povoinik underneath. [193] (#cite_note-Basenkov2017-196) However, in parishes of the Orthodox Church in America (/wiki/Orthodox_Church_in_America) , the wearing of the headscarf is less common and is a matter of Christian liberty (/wiki/Christian_liberty) . [194] (#cite_note-Troy2013-197) Eastern Orthodox nuns (/wiki/Nun#Eastern_Orthodox) wear a head covering called an apostolnik (/wiki/Apostolnik) , which is worn at all times, and is the only part of the monastic habit (/wiki/Monastic_habit) which distinguishes them from Eastern Orthodox monks (/wiki/Monk) . Oriental Orthodox [ edit ] Coptic Orthodox Christian (/wiki/Copts) woman wearing a head covering and harabah (1918) In Oriental Orthodox Christianity (/wiki/Oriental_Orthodox_Christianity) , Coptic (/wiki/Copts) women historically covered their head and face in public and in the presence of men. [195] (#cite_note-budge-198) During the 19th century, upper-class urban Christian and Muslim women in Egypt (/wiki/Egypt) wore a garment which included a head cover and a burqa ( muslin (/wiki/Muslin) cloth that covered the lower nose and the mouth). [196] (#cite_note-El_Guindi-199) The name of this garment, harabah , derives from early Christian and Judaic religious vocabulary, which may indicate the origins of the garment itself. [196] (#cite_note-El_Guindi-199) Unmarried women generally wore white veils while married women wore black. [195] (#cite_note-budge-198) The practice began to decline by the early 20th century. [195] (#cite_note-budge-198) The Standing Conference of Oriental Orthodox Churches (SCOOCH), which represents the Armenian (/wiki/Armenian_Apostolic_Church) , Coptic (/wiki/Coptic_Orthodox_Church) , Syrian (/wiki/Syriac_Orthodox_Church) , Indian (/wiki/Malankara_Orthodox_Syrian_Church) , Ethiopian (/wiki/Ethiopian_Orthodox_Tewahedo_Church) and Eritrean (/wiki/Eritrean_Orthodox_Tewahedo_Church) traditions of Oriental Orthodox Christianity (/wiki/Oriental_Orthodox_Churches) , enjoins the wearing of a headcovering for a woman as being "Proper Attire in Church". [197] (#cite_note-200) Oriental Protestant [ edit ] Women in the Believers Eastern Church (/wiki/Believers_Eastern_Church) , an Oriental Protestant denomination, wear head coverings. [198] (#cite_note-BC-201) Its former Metropolitan Bishop, K. P. Yohannan (/wiki/K._P._Yohannan) teaches that "When a woman wears the symbol of God's government, a head covering, she is essentially a rebuke to all the fallen angels. Her actions say to them, 'You have rebelled against the Holy God, but I submit to Him and His headship. I choose not to follow your example of rebellion and pride.'" [2] (#cite_note-Gordon2015-2) Scriptural basis [ edit ] A Slavic woman wearing a headcovering during Christian worship Old Testament and Apocrypha/Deuterocanon [ edit ] Passages such as Genesis 24:65, [199] (#cite_note-202) Numbers 5:18, [200] (#cite_note-203) Song of Solomon 5:7, [201] (#cite_note-204) Susanna 13:31–32, [202] (#cite_note-205) and Isaiah 47:2 [203] (#cite_note-206) indicate that believing women wore a head covering during the Old Testament (/wiki/Old_Testament) era. [1] (#cite_note-Gleason2018-1) [204] (#cite_note-207) Song of Songs 4:1 [205] (#cite_note-208) records that hair is sensual in nature, with Solomon (/wiki/Solomon) praising its beauty. [53] (#cite_note-Ellinson1992-55) The removal of a woman's veil in the passage of Isaiah 47:1–3 (https://en.wikisource.org/wiki/Bible_(King_James)/Isaiah#47:1) is linked with nakedness and shame. [52] (#cite_note-BudinTurfa2016-54) New Testament [ edit ] 1 Corinthians 11 [206] (#cite_note-209) contains a key passage to the use of headcoverings for women (and the uncovering of the heads of men). [23] (#cite_note-Osburn2007-24) [207] (#cite_note-2014Safran-210) Much of the interpretive discussion revolves around this passage. Exegesis [ edit ] Paul introduces this passage by praising the Corinthian Christians for remembering the " ordinances (/wiki/Ordinance_(Christianity)) " (also translated as "traditions" [208] (#cite_note-211) or "teachings") [209] (#cite_note-212) that he had passed on to them (verse 2). [15] (#cite_note-Marlowe-15) Included in these apostolic ordinances that Paul is discussing in 1 Corinthians 11 (/wiki/1_Corinthians_11) are the headcovering and the Eucharist (/wiki/Eucharist) . [210] (#cite_note-Zerbe2018-213) Paul then explains the Christian use of head coverings using the subjects of headship (/wiki/Complementarianism) , glory, angels, natural hair lengths, and the practice of the churches. [1] (#cite_note-Gleason2018-1) [211] (#cite_note-Witherington-214) This led to the universal practice of headcovering in Christianity. [35] (#cite_note-Bercot1992-37) [1] (#cite_note-Gleason2018-1) Theologians David Lipscomb (/wiki/David_Lipscomb) and J. W. Shepherd in their Commentary on 1st Corinthians explicate the theology behind the traditional Christian interpretation of 1 Corinthians 11, writing that Paul taught that "Every man, therefore, who in praying or prophesying covers his head, thereby acknowledges himself dependent on some earthly head other than his heavenly head, and thereby takes from the latter the honor which is due to him as the head of man." In the Old Testament (/wiki/Old_Testament) , priests (who were all male) wore turbans and caps as Jesus was not known in that era, establishing "the reason why there was no command to honour Him by praying or prophesying with heads uncovered." [90] (#cite_note-Williams2005-93) With the revelation of Jesus to humanity, "Any man who prays or prophesies with something on his head dishonours his head (Christ)." [90] (#cite_note-Williams2005-93) In light of 1 Corinthians 11:4, Christian men throughout church history have thus removed their caps when praying and worshipping, as well as when entering a church (/wiki/Church_(building)) . [212] (#cite_note-Damrosch1996-215) [213] (#cite_note-Yarborough2022-216) [214] (#cite_note-217) As the biblical passage progresses, Paul teaches that: [90] (#cite_note-Williams2005-93) God's order for the woman is the opposite from His order for the man. When she prays or prophesies she must cover her head. If she does not, she disgraces her head (man). This means that she must show her subjection to God's arrangement of headship by covering her head while praying or prophesying. Her action in refusing to cover her head is a statement that she is equal in authority to man. In that case, she is the same as a woman who shaves her head like a man might do. Paul does not say that the woman disgraces her husband . The teaching applies to all women, whether married or not, for it is God's law that woman in general be subject to man in general. She shows this by covering her head when praying or prophesying. [90] (#cite_note-Williams2005-93) Ezra Palmer Gould (/wiki/Ezra_Palmer_Gould) , a professor at the Episcopal Divinity School (/wiki/Episcopal_Divinity_School) , noted that "The long hair and the veil were both intended as a covering of the head, and as a sign of true womanliness, and of the right relation of woman to man; and hence the absence of one had the same significance as that of the other." [215] (#cite_note-Gould-218) This is reflected in the patristic teaching of the Early Church Father John Chrysostom (/wiki/John_Chrysostom) , who explained the two coverings discussed by Saint Paul in 1 Corinthians 11: [64] (#cite_note-Pusey1842-66) For he said not merely covered, but covered over , meaning that she be with all care sheltered from view on every side. And by reducing it to an absurdity, he appeals to their shame, saying by way of severe reprimand, but if she be not covered, let her also be shorn. As if he had said, "If thou cast away the covering appointed by the law of God, cast away likewise that appointed by nature." [64] (#cite_note-Pusey1842-66) John William McGarvey (/wiki/John_William_McGarvey) , in delineating verse 10 of 1 Corinthians 11, suggested that "To abandon this justifiable and well established symbol of subordination would be a shock to the submissive and obedient spirit of the ministering angels ( Isaiah 6:2 (/wiki/Isaiah_6:2) ) who, though unseen, are always present with you in your places of worship ( Matthew 18 (/wiki/Matthew_18) :10-31; Psalm 138 (/wiki/Psalm_138) :1; 1 Timothy 5 (/wiki/1_Timothy_5) :21; ch. 4:9; Ecclesiastes 5 (/wiki/Ecclesiastes_5) :6)". [216] (#cite_note-McGarveyPendleton1916-219) Furthermore, verse 10 refers to the cloth veil as a sign of power or authority that highlights the unique God-given role of a Christian woman and grants her the ability to then "pray and prophesy with the spiritual gifts (/wiki/Spiritual_gift) she has been given" (cf. complementarianism (/wiki/Complementarianism) ). [184] (#cite_note-Kercheville2006-187) This was taught by Early Church Father Irenaeus (/wiki/Irenaeus) (120-202 A.D.), the last living connection to the Apostles, who in his explication of Saint Paul's command in 1 Corinthians 11:10 (https://en.wikisource.org/wiki/Bible_(King_James)/1_Corinthians#11:10) , delineated in Against Heresies (/wiki/Against_Heresies_(Irenaeus)) that the "authority" or "power" on a woman's head was a cloth veil (κάλυμμα kalumma ). [58] (#cite_note-Price-60) Irenaeus' explanation constitutes an early Christian commentary on this biblical verse. [217] (#cite_note-Garland2003-220) Related to this is the fact that Verse 10, in many early copies of the Bible (such as certain vg (/wiki/Vulgate) , cop (/wiki/Bible_translations_into_Coptic) bo , and arm (/wiki/Bible_translations_into_Armenian) ), is rendered with the word "veil" (κάλυμμα kalumma ) rather than the word "authority" (ἐξουσία exousia ); the Revised Standard Version (/wiki/Revised_Standard_Version) reflects this, displaying the verse as follows: "That is why a woman ought to have a veil on her head, because of the angels". [218] (#cite_note-221) [217] (#cite_note-Garland2003-220) Similarly, a scholarly footnote in the New American Bible (/wiki/New_American_Bible) notes that presence of the word " authority (exousia) may possibly be due to mistranslation of an Aramaic word for veil ". [219] (#cite_note-222) This mistranslation may be due to "the fact that in Aramaic the roots of the word power and veil are spelled the same." [220] (#cite_note-Farrell-223) Ronald Knox (/wiki/Ronald_Knox) adds that certain biblical scholars hold that "Paul is attempting, by means of this Greek word, to render a Hebrew word that signifies the veil traditionally worn by a married Jewish woman." [221] (#cite_note-Kwasniewski2019-224) Nevertheless, the "word exousia had come at Corinth, or in the Corinthian Church, to be used for 'a veil,' or 'covering'...just as the word 'kingdom' in Greek may be used for 'a crown' (compare regno as the name of the pope's tiara), so authority may mean a sign of authority (Revised Version), or 'a covering, in sign that she is under the power of her husband' (Authorized Version, margin)." [222] (#cite_note-SpenceJones1899-225) [223] (#cite_note-Tuck1891-226) Jean Chardin (/wiki/Jean_Chardin) 's scholarship on the Near East (/wiki/Near_East) thus notes that women "wear a veil, in sign that they are under subjection." [222] (#cite_note-SpenceJones1899-225) [223] (#cite_note-Tuck1891-226) In addition to Irenaeus, Church Fathers, including Hippolytus (/wiki/Hippolytus_of_Rome) , Origen (/wiki/Origen) , Chrysostom (/wiki/Chrysostom) , Epiphanius (/wiki/Epiphanius_of_Salamis) , Jerome (/wiki/Jerome) , Augustine (/wiki/Augustine) , and Bede (/wiki/Bede) write verse 10 using the word "veil" (κάλυμμα kalumma ). [217] (#cite_note-Garland2003-220) [224] (#cite_note-227) Russian woman putting a headscarf (/wiki/Headscarf) on before entering her church Assyrian Christian (/wiki/Assyrian_people) women wearing headcoverings and modest clothing praying in Mart Maryam Church (/wiki/St._Mary_Church,_Urmia) in Urmia (/wiki/Urmia) , Iran (/wiki/Iran) . Certain denominations of Christianity, such as traditional Anabaptists (e.g. Conservative Mennonites (/wiki/Conservative_Mennonites) ), combine this with 1 Thessalonians 5 (/wiki/1_Thessalonians_5) ("Rejoice always; pray without ceasing; in everything give thanks; for this is God's will for you in Christ Jesus. Do not quench the Spirit; do not despise prophetic utterances") [225] (#cite_note-228) and hold that Christian women are commanded to wear a headcovering without ceasing. [226] (#cite_note-TheBrethrenEncyclopedia1983-229) [25] (#cite_note-Almila2017-26) Anabaptist expositors, such as Daniel Willis, have cited the Early Church Father John Chrysostom (/wiki/John_Chrysostom) , who provided additional reasons from Scripture for the practice of a Christian woman wearing her headcovering all the time — that "if to be shaven is always dishonourable, it is plain too that being uncovered is always a reproach" and that "because of the angels...signifies that not at the time of prayer only but also continually, she ought to be covered." [72] (#cite_note-OCIC-75) [29] (#cite_note-Willis2022-30) [33] (#cite_note-Schaff1889-35) A Conservative Anabaptist (/wiki/Conservative_Anabaptist) publication titled The Significance of the Christian Woman's Veiling , authored by Merle Ruth, teaches with regard to the continual wearing of the headcovering by believing women, that it is: [30] (#cite_note-Ruth2022-31) ... worn to show that the wearer is in God's order. A sister should wear the veiling primarily because she is a woman, not because she periodically prays of teaches. It is true that verses 4 and 5 speak of the practice in relation to times of praying and prophesying. But very likely it was for such occasions that the Corinthians had begun to feel they might omit the practice in the name of Christian liberty. The correction would naturally be applied first to the point of violation. Greek scholars have pointed out that the clause "Let her be covered" is the present, active, imperative form, which gives the meaning, "Let her continue to be veiled." [30] (#cite_note-Ruth2022-31) The biblical passage has been interpreted by Anabaptist Christians and Orthodox Christians, among others, in conjunction with modesty in clothing ( 1 Timothy 2 (/wiki/1_Timothy_2) :9-10 "I also want the women to dress modestly, with decency and propriety, adorning themselves, not with elaborate hairstyles or gold (/wiki/Gold) or pearls (/wiki/Pearl) or expensive clothes, but with good deeds, appropriate for women who profess to worship God"). [227] (#cite_note-Young1999-230) Genesis 24:65 [8] (#cite_note-bibleverse|Genesis|24:65|NRSV-8) records the veil as a feminine emblem of modesty. [9] (#cite_note-Arquilevich1995-9) [10] (#cite_note-Ambrose-10) [1] (#cite_note-Gleason2018-1) The wearing of headcoverings in public by Christian women was commanded in early Christian texts, such as the Didascalia Apostolorum (/wiki/Didascalia_Apostolorum) and the Pædagogus (/wiki/Paedagogus) , for the purpose of modesty. [11] (#cite_note-Gibson1903-11) [61] (#cite_note-Classical2012-63) Verse four of 1 Corinthians 11 uses the Greek words kata kephalēs ( κατάIn κεφαλῆς ) for "head covered", the same Greek words used in Esther 6:12 [228] (#cite_note-231) ( Septuagint (/wiki/Septuagint) ) where "because he [Haman] had been humiliated, he headed home, draping an external covering over his head" (additionally certain manuscripts of the Septuagint in Esther 6:12 use the Greek words κατακεκαλυμμένος κεφαλήν , which is the "perfect passive participle of the key verb used in 1 Corinthians 11:6 and 7 for both a man's and a woman's covering his or her head [κατακαλύπτω]") — facts that New Testament scholar Rajesh Gandhi states makes it clear that the passage enjoins the wearing of a cloth veil by Christian women. [229] (#cite_note-Elliott2005-232) [230] (#cite_note-Gandhi2011-233) Biblical scholar Christopher R. Hutson contextualizes the verse citing Greek texts of the same era, such as Moralia (/wiki/Moralia) : [231] (#cite_note-Hutson2013-234) Plutarch (/wiki/Plutarch) 's phrase, "covering his head" is literally "having down from the head" ( kata tes kephales echon ). This is the same phrase Paul uses in 1 Corinthians 11:4. It refers to the Roman practice of pulling one's toga (/wiki/Toga) up over the head like a hood. ... Romans also wore their togas "down from the head" when they offered sacrifices. This is the practice to which Paul refers. [231] (#cite_note-Hutson2013-234) Verses five through seven, as well as verse thirteen, of 1 Corinthians 11 use a form of the Greek (/wiki/Greek_language) word for "veiled", κατακαλύπτω katakalupto ; this is contrasted with the Greek word περιβόλαιον peribolaion , which is mentioned in verse 15 of the same chapter, in reference to "something cast around" as with the "hair of a woman ... like a mantle cast around". [17] (#cite_note-Payne2015-18) [232] (#cite_note-Barnes1995-235) [233] (#cite_note-Abel2014-236) [234] (#cite_note-Mounce2006-237) These separate Greek words indicate that there are thus two headcoverings that Paul states are compulsory for Christian women to wear, a cloth veil and her natural hair. [36] (#cite_note-Lee2018-38) [230] (#cite_note-Gandhi2011-233) The words Paul uses in 1 Corinthians 11:5 are employed by contemporary Hellenistic philosophers, such as Philo (/wiki/Philo) (30 BC–45 AD) in Special Laws 3:60, who uses "head uncovered" ( akatakalyptō tē kephalē ) [ἀκατακαλύπτῳ τῇ κεφαλῇ] and "it is clear that Philo is speaking of a head covering being removed because the priest had just removed her kerchief"; additionally, akatakalyptos [ἀκατακάλυπτος] likewise "means 'uncovered' in Philo, Allegorical Interpretation II,29, and in Polybius 15,27.2 (second century BC)." [235] (#cite_note-Schreiner1991-238) 1 Corinthians 11:16 [236] (#cite_note-239) concludes the passage Paul wrote about Christian veiling: "But if anyone wants to argue about this, I simply say that we have no other custom than this, and neither do God's other churches." [15] (#cite_note-Marlowe-15) Michael Marlowe, a scholar of biblical languages (/wiki/Biblical_languages) , explains that Saint Paul's inclusion of this statement was to affirm that the "headcovering practice is a matter of apostolic authority and tradition, and not open to debate", evidenced by repeating a similar sentence with which he starts the passage: "maintain the traditions even as I delivered them to you". [15] (#cite_note-Marlowe-15) Interpretive issues [ edit ] Orthodox Christian woman in Ukraine (/wiki/Ukraine) . Female believers are required to cover their head when entering churches and monasteries. A opaque hanging veil (/wiki/Hanging_veil) worn by a Conservative Anabaptist (/wiki/Conservative_Anabaptism) woman belonging to the Charity Christian Fellowship (/wiki/Charity_Christian_Fellowship) There are several key sections of 1 Corinthians 11:2–16 that Bible commentators and Christian congregations, since the 1960s, have held differing opinions (/wiki/1_Corinthians_11#Head_covering) about, which have resulted in either churches continuing the practice of wearing headcoverings, or not practicing the ordinance. [47] (#cite_note-Greg2015-49) [237] (#cite_note-Anderson2013-240) Gender-based headship : Paul connects the use (or non-use) of headcoverings with the biblical distinctions between each gender. In 1 Corinthians 11:3, [238] (#cite_note-241) Paul wrote, "Christ is the head of every man, and the man is the head of a woman." He immediately continues with a gender-based teaching on the use of headcoverings: "Every man who has something on his head while praying or prophesying disgraces his head. But every woman who has her head uncovered while praying or prophesying disgraces her head." [15] (#cite_note-Marlowe-15) Glory and worship : Paul next explains that the use (or non-use) of headcoverings is related to God's glory during times of prayer and prophesy. In 1 Corinthians 11:7, [239] (#cite_note-242) he states that man is the "glory of God" and that for this reason "a man ought not to have his head covered." In the same verse, Paul also states that the woman is the "glory of man." He explains that statement in the subsequent two verses by referring to the woman's creation in Genesis 2:18, [240] (#cite_note-243) and then concludes, "Therefore the woman ought to have a symbol of authority on her head" (verse 10). In other words, the "glory of God" (man) is to be uncovered during times of worship, while the "glory of man" (woman) is to be covered. [15] (#cite_note-Marlowe-15) Angels : In 1 Corinthians 11:10, [241] (#cite_note-244) Paul says "Therefore the woman ought to have a symbol of authority on her head, because of the angels" (NASB), also rendered "That is why a woman ought to have a veil on her head, because of the angels" (RSV). Many interpreters admit that Paul does not provide much explanation for the role of angels in this context. Some popular interpretations of this passage are: An appeal not to offend the angels by disobedience to Paul's instructions of women wearing a veil (and men praying with their heads uncovered) as the angels take part in spiritual exercises (Tobit 12:12-15, Revelation 8:2-4) [242] (#cite_note-245) [243] (#cite_note-246) [244] (#cite_note-247) [216] (#cite_note-McGarveyPendleton1916-219) [1] (#cite_note-Gleason2018-1) a command to accurately show angels a picture of the created order (Ephesians 3:10, [245] (#cite_note-248) 1 Peter 1:12), [246] (#cite_note-249) a warning for mankind to obey as a means of accountability, since the angels are watching (1 Timothy 5:21), [247] (#cite_note-250) to be like the angels who cover themselves in the presence of God (Isaiah 6:2), [248] (#cite_note-251) [30] (#cite_note-Ruth2022-31) and to protect against the fallen angels (/wiki/Fallen_angel) who lust after mortal women and did not stay in the role that God created for them (Jude 1:6). [249] (#cite_note-252) [250] (#cite_note-253) Nature and hair lengths : In 1 Corinthians 11:13-15, [251] (#cite_note-254) Paul asks a rhetorical question about the propriety of headcoverings, and then answers it himself with a lesson from nature: "Judge for yourselves: is it proper for a woman to pray to God with her head uncovered? Does not even nature itself teach you that if a man has long hair, it is a dishonor to him, but if a woman has long hair, it is a glory to her? For her hair is given to her for a covering." The historic interpretation of this passage, for example seen in Homilies of John Chrysostom (/wiki/John_Chrysostom) , an Early Church Father (/wiki/Early_Church_Father) , reiterates Paul's teaching that since a woman naturally "covers" her head with her natural hair, she likewise ought to cover it with a cloth headcovering while praying or prophesying (cf. conditional sentence (/wiki/Conditional_sentence) ). [36] (#cite_note-Lee2018-38) [64] (#cite_note-Pusey1842-66) Thus, in the beginning he simply requires that the head be not bare: but as he proceeds he intimates both the continuance of the rule, saying, "for it is one and the same thing as if she were shaven," and the keeping of it with all care and diligence. For he said not merely covered, but "covered over," meaning that she be carefully wrapped up on every side. And by reducing it to an absurdity, he appeals to their shame, saying by way of severe reprimand, "but if she be not covered, let her also be shorn." As if he had said, "If thou cast away the covering appointed by the law of God, cast away likewise that appointed by nature." — John Chrysostom (/wiki/John_Chrysostom) [252] (#cite_note-255) Michael Marlowe, a scholar of biblical languages (/wiki/Biblical_languages) , explicates the reductio ad absurdum (/wiki/Reductio_ad_absurdum) that Paul the Apostle used in the passage: [15] (#cite_note-Marlowe-15) In the appeal to "nature" (φύσις) here Paul makes contact with another philosophy of ancient times, known as Stoicism (/wiki/Stoicism#Influence_on_Christianity) . The Stoics believed that intelligent men could discern what is best in life by examining the laws of nature, without relying on the changeable customs and divers laws made by human rulers. If we consult Nature, we find that it constantly puts visible differences between the male and the female of every species, and it also gives us certain natural inclinations when judging what is proper to each sex. So Paul uses an analogy, comparing the woman's headcovering to her long hair, which is thought to be more natural for a woman. Though long hair on men is possible, and in some cultures it has been customary for men to have long hair, it is justly regarded as effeminate. It requires much grooming, it interferes with vigorous physical work, and a man with long hair is likely to be seized by it in a fight. It is therefore unmanly by nature. But a woman's long hair is her glory . Here again is the word δόξα, used opposite ἀτιμία "disgrace," in the sense of "something bringing honor." Long and well-kept hair brings praise to a woman because it contributes to her feminine beauty. The headcovering, which covers the head like a woman's hair, may be seen in the same way. Our natural sense of propriety regarding the hair may therefore be carried over to the headcovering. [15] (#cite_note-Marlowe-15) Paul's discussion of hair lengths was not to command any specific hair measurement, but rather, a discussion of "male and female differentiation" as women generally had longer hair than men; while the males of Sparta (/wiki/Sparta) wore shoulder-length hair, the hair of Spartan women was significantly longer. [253] (#cite_note-WalvoordZuck2018-256) Church practice : In 1 Corinthians 11:16, [254] (#cite_note-257) Paul responded to any readers who may disagree with his teaching about the use of headcoverings: "But if one is inclined to be contentious, we have no other practice, nor have the churches of God." This may indicate that headcoverings were considered a standard, universal Christian symbolic practice (rather than a local cultural custom). In other words, while churches were spread out geographically and contained a diversity of cultures, they all practiced headcovering for female members. [15] (#cite_note-Marlowe-15) Contemporary conclusions [ edit ] Shawls have been used as a headcovering by Christian women in various parts of the world, such as in Russia; they were worn by the females at the church in Corinth during the era of early Christianity. [104] (#cite_note-Zuck2006-107) Beginning in the 20th century, due to aforementioned issues, Bible commentators and Christian congregations have either advocated for the continued practice of wearing headcoverings, or have discarded the observance of this ordinance as understood in its historic sense. [2] (#cite_note-Gordon2015-2) [237] (#cite_note-Anderson2013-240) While many Christian congregations, such as those of the Conservative Anabaptists (/wiki/Conservative_Anabaptist) , continue to enjoin the wearing of headcoverings for female members, others do not. [48] (#cite_note-David1992-50) [255] (#cite_note-Stenson2010-258) [237] (#cite_note-Anderson2013-240) Some Christian denominations, such as Anabaptist Churches and Orthodox Churches, view Christian headcovering as a practice that Paul intended for all Christians, in all locations, during all time periods and so they continue the practice within their congregations. This view was taught by the early Church Fathers (/wiki/Church_Fathers) and held universally by undivided Christianity for several centuries afterward. [35] (#cite_note-Bercot1992-37) [2] (#cite_note-Gordon2015-2) This historic interpretation is linked with the God-ordained order of headship. [256] (#cite_note-259) Conservative Anabaptists (/wiki/Conservative_Anabaptist) and Old Order Anabaptists (/wiki/Old_Order_Anabaptist) hold that because "the testimony of headship and the angels apply to all times of the believer's life, not only church services", in addition to biblical injunctions to "pray often, even continually (Acts 6:3-4, 6; 12:5; Romans 1:8-10; Ephesians 1:15-19; 6:18-20; Colossians 1:3-4; 5:17; 2 Timothy 1:3-6)", women are called to wear the headcovering throughout the day. [68] (#cite_note-Anderson-71) Sociologist Cory Anderson stated that for those Christian women who continually wear it, the headcovering serves as an outward testimony (/wiki/Testimony#Religion) that often allows for evangelism (/wiki/Evangelism) . [68] (#cite_note-Anderson-71) A modern interpretation is that Paul's commands regarding headcovering were a cultural mandate that was only for the 1st-century Corinthian church. This view states that Paul was simply trying to create a distinction between uncovered Corinthian prostitutes and godly Corinthian Christian women, and that in the modern era, headcoverings are not necessary within a church. [48] (#cite_note-David1992-50) Church historian David Bercot (/wiki/David_Bercot) criticizes this view as early Church writings do not evidence this reasoning. [48] (#cite_note-David1992-50) A recent interpretation, first formulated in 1965 by the Scandinavian theologian Abel Isaakson, purports that Paul stated that the "hair" (specifically "long hair") is the sole covering mentioned in the entire passage; 1 Corinthians 11:15 (NRSV) reads "but if a woman has long hair, it is her glory? For her hair is given to her for a covering." [257] (#cite_note-260) [258] (#cite_note-Keddie2019-261) [35] (#cite_note-Bercot1992-37) [172] (#cite_note-Brown2011-175) However, some have taken issue with the fact that the Greek word used for covering in verse 15 (περιβόλαιον) is a different word than the form of the word used for veiling/covering in verses 5-7 and 13 (κατακαλύπτω), the latter of which means "to cover wholly" or "to veil". [36] (#cite_note-Lee2018-38) [232] (#cite_note-Barnes1995-235) [230] (#cite_note-Gandhi2011-233) [233] (#cite_note-Abel2014-236) [259] (#cite_note-Beetham2021-262) Moderator of the General Assembly (/wiki/Moderator_of_the_General_Assembly) of the Free Church of Scotland (Continuing) (/wiki/Free_Church_of_Scotland_(Continuing)) John W. Keddie contended that if hair was the covering Paul was talking about, then verse 6 would read "For if the women have no hair on her head , let her also be shorn", rendering the passage to be nonsensical (/wiki/Nonsense) . [36] (#cite_note-Lee2018-38) [258] (#cite_note-Keddie2019-261) Legal issues [ edit ] In the United States, an Alabama resident Yvonne Allen, in 2016, filed a complaint with the federal court after being forced to remove her headscarf for her driver's license (/wiki/Driver%27s_license) photograph. [260] (#cite_note-Stempel-263) [261] (#cite_note-264) Allen characterized herself as a "devout Christian woman whose faith compels her to cover her hair in public." [260] (#cite_note-Stempel-263) [262] (#cite_note-265) In Allen v. English, et al. , Lee County (/wiki/Lee_County,_Alabama) was accused of violating the Establishment Clause (/wiki/Establishment_Clause) and a settlement was negotiated that gave "Allen a new driver’s license with her head covering". [263] (#cite_note-266) See also [ edit ] Christianity portal (/wiki/Portal:Christianity) Fashion portal (/wiki/Portal:Fashion) Catholicism portal (/wiki/Portal:Catholicism) Reformed Christianity portal (/wiki/Portal:Reformed_Christianity) Coif (/wiki/Coif) Headscarf (/wiki/Headscarf) Hijab (/wiki/Hijab) Kerchief (/wiki/Kerchief) Tichel (/wiki/Tichel) , Orthodox Jewish headcovering Veil (/wiki/Veil) References [ edit ] Notes [ edit ] ^ (#cite_ref-17) The First Epistle to the Corinthians (/wiki/First_Epistle_to_the_Corinthians) , authored by Saint Paul (/wiki/Saint_Paul) , is addressed to "... all those who in every place call on the name of our Lord Jesus Christ, both their Lord and ours" (see 1 Corinthians 1:1–3 (https://en.wikisource.org/wiki/Bible_(King_James)/1_Corinthians#1:1) ). Jesus is Lord (/wiki/Jesus_is_Lord) is the first creed (/wiki/Creed) of Christianity, [13] (#cite_note-Harn2004-13) and by addressing those who affirm it, Saint Paul is addressing the universal Church everywhere, not just the local church in Corinth. [14] (#cite_note-Lee1990-14) Likewise, 1 Corinthians 1:16 (https://www.biblica.com/bible/?osis=nlt:1%20Corinthians%201:16) concludes Saint Paul's instructions on Christian headcovering: "But if anyone wants to argue about this, I simply say that we have no other custom than this, and neither do God's other churches." [15] (#cite_note-Marlowe-15) [16] (#cite_note-16) Biblical language (/wiki/Biblical_language) scholar Michael Marlowe cites 1 Corinthians 14:37 (https://bible.usccb.org/bible/1Corinthians/14?37) to demonstrate that the Paul the Apostle taught the traditions he delivered, such as headcovering with a cloth veil, "are a commandment of the Lord" to be followed by those who are "spiritual". [15] (#cite_note-Marlowe-15) ^ (#cite_ref-34) Anabaptist Churches (/wiki/Anabaptism) include the Mennonites (/wiki/Mennonites) , Amish (/wiki/Amish) , Hutterites (/wiki/Hutterites) , Bruderhof (/wiki/Bruderhof) , Schwarzenau Brethren (/wiki/Schwarzenau_Brethren) , River Brethren (/wiki/River_Brethren) and Apostolic Christians (/wiki/Apostolic_Christian_Church) , as well as other smaller denominations. [26] (#cite_note-Gertz2004-27) [27] (#cite_note-TW2021-28) [28] (#cite_note-Huffman1920-29) This traditional Anabaptist viewpoint is explicated by expositor Daniel Willis, who cites the Early Church Father John Chrysostom (/wiki/John_Chrysostom) 's explication of Saint Paul's teaching in 1 Corinthians 11 (/wiki/1_Corinthians_11) as the basis for continual headcovering (during worship and in public) among women, particularly Saint Paul's assertion that women being unveiled is dishonourable and by consequence, Christian women should cover their heads with a veil continually. [29] (#cite_note-Willis2022-30) Merle Ruth in The Significance of the Christian Woman’s Veiling (https://www.anabaptistresources.org/en/resources/details/986/the-significance-of-the-christian-womans-veil) states that Anabaptist doctrine (/wiki/Anabaptist_doctrine) holds that the biblical "clause [authored by Saint Paul] 'Let her be covered' is the present, active, imperative form, which gives the meaning, 'Let her continue to be veiled.'" [30] (#cite_note-Ruth2022-31) To this end, Anabaptists of the Conservative Mennonite (/wiki/Conservative_Mennonite) and Dunkard Brethren (/wiki/Dunkard_Brethren) traditions hold headcovering to be among the ordinances of the Church. [4] (#cite_note-Hartzler2013-4) [31] (#cite_note-DBC2021-32) Conservative Friends (/wiki/Conservative_Friends) follow the same practice of wearing a headcovering during worship and when outside the home. [32] (#cite_note-OYM2022-33) In Oriental Orthodox Christian (/wiki/Oriental_Orthodoxy) and Eastern Orthodox Christian (/wiki/Eastern_Orthodoxy) Churches, certain theologians teach the same doctrine that it is "expected of all women to be covered not only during liturgical periods of prayer, but at all times, for this was their honor and sign of authority given by our Lord", [5] (#cite_note-Nektarios2022-5) while other clerics have held that headcovering should at least be done during prayer and worship. [6] (#cite_note-Nadian2023-6) ^ (#cite_ref-67) Writing on the practice of the pagan Greek customs (that surrounded the Corinthian church there), the Early Church Father John Chrysostom (/wiki/John_Chrysostom) ( c. 347 – 407) stated: "Their women used both to pray and prophesy unveiled, and with their head bare, (for then women also used to prophesy;) but the men went so far as to wear long hair, as having spent their time in philosophy, and covered their heads when praying and prophesying, each of which was a Grecian custom." [64] (#cite_note-Pusey1842-66) Citations [ edit ] ^ Jump up to: a b c d e f g h i j k l Gleason, Joseph (4 June 2018). "Why Russian Women Still Cover Their Heads in Church (Hint: It's in the Bible)" (https://russian-faith.com/explaining-orthodoxy/why-russian-women-still-cover-their-heads-church-hint-its-bible-n1468) . Russian Faith . Retrieved 14 February 2022 . ^ Jump up to: a b c d e f Gordon, Greg (31 August 2015). "Are Head Coverings Really for Today?" (https://evangelicalfocus.com/yourblog/929/Are-Head-Coverings-Really-for-Today-) . Evangelical Focus . Retrieved 2 May 2022 . Hippolytus an early Church Father wrote, "Let all the women have their heads covered." Others who taught this practice in the Church were, John Calvin [father of the Reformed tradition], Martin Luther [father of the Lutheran tradition], Early Church Fathers, John Wesley [father of the Methodist tradition], Matthew Henry [Presbyterian theologian] to name just a few. We must remind ourselves that until the twentieth century, virtually all Christian women wore head coverings. ^ Jump up to: a b c Barth, Paul J. (15 July 2019). "Head Coverings in Worship?" (https://purelypresbyterian.com/2019/07/15/head-coverings-in-worship/) . Purely Presbyterian . Retrieved 10 April 2022 . ^ Jump up to: a b c d e Hartzler, Rachel Nafziger (30 April 2013). No Strings Attached: Boundary Lines in Pleasant Places: A History of Warren Street / Pleasant Oaks Mennonite Church . Wipf and Stock Publishers. ISBN (/wiki/ISBN_(identifier)) 978-1-62189-635-7 . ^ Jump up to: a b c d Nektarios, Subdeacon (4 October 2022). "Veiling of Orthodox Christian Women According to the Fathers and in the History of the Church" (https://www.orthodoxethos.com/post/veiling-of-orthodox-christian-women-according-to-the-fathers-and-in-the-history-of-the-church) . Orthodox Ethos . Retrieved 24 January 2023 . ^ Jump up to: a b Nadian, Jacob. "Why Should Women Cover Their Heads During Prayers?" (https://saintbishoy.ca/wp-content/uploads/Women_Head_Cover_English.pdf) (PDF) . St. Bishop Coptic Orthodox Church . Retrieved 21 May 2023 . ^ Jump up to: a b "The Ultimate Guide to Christian Head Coverings" (https://www.saintjohnchurch.org/head-coverings-ultimate-guide/) . Saint John the Evangelist Orthodox Church. 26 October 2021 . Retrieved 25 January 2022 . ^ Jump up to: a b Genesis 24:65 (https://bible.oremus.org/?passage=Genesis%2024:65&version=nrsv) ^ Jump up to: a b Arquilevich, Gabriel (1995). World Religions . Teacher Created Resources. p. 35. ISBN (/wiki/ISBN_(identifier)) 978-1-55734-624-7 . The origins of the veil go back to the matriarch Rebekah, who, when she saw Isaac for the first time, "took her veil and covered her face." (Genesis 24:65). The veil is symbolic of Jewish traditions of modesty. ^ Jump up to: a b The Complete Works of St. Ambrose . Strelbytskyy Multimedia Publishing. 5 October 2021. Was it a small sign of modesty that when Rebecca came to wed Isaac, and saw her bridegroom, she took a veil, [Genesis 24:65] that she might not be seen before they were united? Certainly the fair virgin feared not for her beauty, but for her modesty. ^ Jump up to: a b c Gibson, Margaret Dunlop (1903). The Didascalia Apostolorum in English . C.J. Clay. pp. 9–10. ^ (#cite_ref-Adams2013_12-0) Adams, Edward (24 October 2013). The Earliest Christian Meeting Places: Almost Exclusively Houses? . A&C Black. p. 81. ISBN (/wiki/ISBN_(identifier)) 978-0-567-15732-4 . ^ (#cite_ref-Harn2004_13-0) Harn, Roger van (2004). Exploring and Proclaiming the Apostles' Creed . A&C Black. p. 58. ISBN (/wiki/ISBN_(identifier)) 9780819281166 . ^ (#cite_ref-Lee1990_14-0) Lee, Witness (1990). Life-Study of 1 Corinthians: Messages 1-23 . Living Stream Ministry. p. 14. ISBN (/wiki/ISBN_(identifier)) 978-0-87083-140-9 . In verse 2 Paul also says, "With all those who call upon the name of our Lord Jesus Christ in every place, theires and ours." Notice that here he does not say " and all those," but with all those." This indicates that a local church, like the church in Corinth, is composed only of those believers in that locality, not of all believers in every place. It also indicates that this Epistle was intended not only for the believers in that one church in Corinth, but for all believers in every place. First Corinthians is for all believers of whatever place and time. ^ Jump up to: a b c d e f g h i j Marlowe, Michael D. "The Woman's Headcovering" (http://www.bible-researcher.com/headcoverings.html) . Bible Research . Retrieved 27 April 2022 . 16 But if anyone is inclined to be contentious, we have no such practice, nor do the churches of God. He thus brings the matter to a conclusion. In addition to the theological and moral reasons for the headcovering, there is also the fact that if the Corinthians were to allow their women to remove the headcovering, this new practice or custom (συνήθειαν) would go against the established custom of Paul and his fellow-workers, the custom which was observed in all the other churches, and which he has delivered to them as one of the παραδόσεις "traditional practices" of the faith (verse 2) ... Paul has devoted some time to this subject because it is important to him, not a matter of indifference; and it makes little sense to speak of a custom of being contentious (φιλόνεικος, lit. "loving strife"), because contentiousness is an attitude or temper, not a custom. There is a good parallel to Paul's usage of the word φιλόνεικος in Josephus' work Against Apion . Josephus concludes a series of arguments with the sentence, "I suppose that what I have already said may be sufficient to such as are not very contentious (φιλόνεικος)," (19) and then he continues with even stronger arguments for those who are very contentious. In the same way, Paul reserves the clinching argument for the end. It is an argument from authority. The headcovering practice is a matter of apostolic authority and tradition, and not open to debate. His concluding rebuke of the contentious people in Corinth is meant to cut off debate and settle the issue, not to leave it open. It is quite wrong to say of this last argument of Paul's that "in the end he admits" that he was merely "rationalizing the customs in which he believes," (20) as if Paul himself put little store by custom. Rather, Paul considers this to be his strongest point. At the end he harks back to the words with which he opened the subject ("maintain the traditions even as I delivered them to you" in verse 2), and the whole section is thus framed between explicit invocations of tradition . ^ (#cite_ref-16) Gordon, Greg (31 August 2015). "Are Head Coverings Really for Today?" (https://evangelicalfocus.com/yourblog/929/Are-Head-Coverings-Really-for-Today-) . Evangelical Focus . Retrieved 2 May 2022 . Clement of Rome in AD 96 said, "Then let us gather together in awareness of our concord" speaking of the holy angels when we worship. The Church is to gather and worship God in the Spirit (John 4:24) doing things that the world considers foolish but for the Lord there is great significance. Paul speaking as inspired by the Holy Spirit said, "We have no other practice — nor do the churches of God" (1 Corinthians 11:16). It was not just a local custom or practice but all the Churches were practicing this as they were practicing water Baptism and Holy Communion. This was not an optional thing as the default was all the Churches were doing it. It is interesting that the same apostle who warns against legalism and exhorts us to walk in the Spirit is the very same apostle who says, "If a woman does not cover her head, she should cut off her hair ..." ^ Jump up to: a b c Payne, Philip Barton (5 May 2015). Man and Woman, One in Christ: An Exegetical and Theological Study of Paul's Letters . Zondervan Academic. ISBN (/wiki/ISBN_(identifier)) 978-0-310-52532-5 . Furthermore, Greek women, including women in prayer, were usually depicted without a garment covering the head. It does not make sense that Paul would assert something was disgraceful that in their culture was not considered disgraceful. Concerning Greek customs A. Oepke observes: ... It is quite wrong [to assert] that Greek women were under some kind of compulsion to wear a veil. ... Passages to the contrary are so numerous and unequivocally that they cannot be offset. ...Empresses and goddesses, even those who maintain their dignity, like Hera and Demeter, are portrayed without veils. ^ Jump up to: a b c d e "The Head Covering or Prayer Veil: 1 Corinthians 11:1-16" (http://www.scrollpublishing.com/store/head-covering.html) . Scroll Publishing Company (/wiki/Scroll_Publishing_Company) . Retrieved 5 April 2022 . Around the year 200, at Carthage, North Africa, Tertullian wrote a tract entitled, "The Veiling of Virgins." Tertullian makes the argument that the passage applies to all females of age — not just to married women. ... Earlier in his tract, Tertullian testified that the churches that were founded by the apostles did insist that both their married women and their virgins be veiled: Throughout Greece, and certain of its barbaric provinces, the majority of churches keep their virgins covered. In fact, this practice is followed in certain places beneath this African sky. So let no one ascribe this custom merely to the Gentile customs of the Greeks and barbarians. Moreover, I will put forth as models those churches that were founded by either apostles or apostolic men. ... The Corinthians themselves understood him to speak in this manner. For to this very day the Corinthians veil their virgins. What the apostles taught, the disciples of the apostles confirmed. [Tertullian, The Veiling of Virgins The Ante-Nicene Fathers Vol. 4 pp. 27-29,33] ... In summary, the early Christians practiced exactly what 1 Cor. 11 says: Men prayed with their heads uncovered. Women prayed with their heads veiled. Nobody disputed this — regardless of where they lived — Europe, Mid-East, North Africa, or the Far East. This written evidence of the course of performance of the early Christians is corroborated by the archaeological record. The pictures we have from the second and third centuries from the catacombs and other places depict Christian women praying with a cloth veil on their heads. Some of those pictures are shown below. So the historical record is crystal clear. It reveals that the early generation of believers understood the head covering to be a cloth veil — not long hair. As Tertullian indicated, even the women who did not wish to follow Paul's teaching were not claiming that Paul was talking about long hair. Rather, they simply wore a small cloth in minimal obedience to his teaching. Nobody in the early Church claimed that Paul's instructions were merely a concession to Greek culture. Nobody claimed that they had anything to do with prostitutes or pagan priestesses. ^ Jump up to: a b Phillips, David (13 August 2014). Headcovering Throughout Christian History: The Church's Response to 1 Corinthians 11:2-16 . Lockman Foundation. As Paul's instructions were counter-cultural, this passage is "a remarkable proof of the Apostle's courage and honesty." Paul teaches that going without a headcovering means a loss of "dignity, power, and grace, which God had given to women, especially under the Gospel." The idea that "a woman who casts off the covering of her head, casts off her dignity ... involves a moral truth ... Thus the divine Apostle has left a lesson to women in every age." Beyond the practice of the local Corinthian church, the author cites Early Church writers on this topic. He also notes that "the Apostolic Constitutions [4th century AD] ... expressly commanded that the women should have their heads covered in the Church." ^ Jump up to: a b Ben Witherington III (/wiki/Ben_Witherington_III) (24 January 1995). Conflict and Community in Corinth: A Socio-Rhetorical Commentary on 1 and 2 Corinthians . Wm. B. Eerdmans Publishing. pp. 235–238. ISBN (/wiki/ISBN_(identifier)) 978-0-8028-0144-9 . Paul is not simply endorsing standard Roman or even Greco-Roman customs in Corinth. Paul was about the business of reforming his converts' social assumptions and conventions in the context of the Christian community. They were to model new Christian customs, common in the assemblies of God but uncommon in the culture, thus staking out their own sense of a unique identity. ...In light of Roman practice, it is very believable that some Christian Roman males were covering their heads when they were about to pray or prophesy. Paul is not interested in baptizing the status quo or normal Roman practice. He is setting up new customs for a new community, and these customs are deeply grounded in his theological understanding of creation, redemption, their interrelation, and how they should be manifested in worship. ^ (#cite_ref-Hippolytus_22-0) "On Head Coverings" (https://classicalchristianity.com/2012/01/11/on-head-coverings/) . Classical Christianity. 11 January 2012 . Retrieved 25 January 2022 . And let all the women have their heads covered with an opaque cloth, not with a veil of thin linen, for this is not a true covering. (Apostolic Tradition Part II.18) ^ (#cite_ref-23) 1 Corinthians 11:2–10 (https://bible.oremus.org/?passage=1%20Corinthians%2011:2–10&version=nrsv) ^ Jump up to: a b Osburn, Carroll D. (1 July 2007). Essays on Women in Earliest Christianity, Volume 1 . Wipf and Stock Publishers. p. 208. ISBN (/wiki/ISBN_(identifier)) 9781556355400 . ^ (#cite_ref-25) 1 Thess 5:17 (https://bible.oremus.org/?passage=1%20Thessalonians%205:17&version=nrsv) ^ Jump up to: a b c Almila, Anna-Mari; Almila, David (6 July 2017). The Routledge International Handbook to Veils and Veiling . Taylor & Francis. p. 296. ISBN (/wiki/ISBN_(identifier)) 978-1-317-04114-6 . Amish women who wear it at all times except when sleeping. This is based on the notion that women should 'pray without ceasing'. ^ (#cite_ref-Gertz2004_27-0) Gertz, Steven (2004). "Outsider's Guide to America's Anabaptists" (https://www.christianitytoday.com/history/issues/issue-84/outsiders-guide-to-americas-anabaptists.html) . Christianity Today (/wiki/Christianity_Today) . Retrieved 20 May 2021 . ^ (#cite_ref-TW2021_28-0) "What about Old Orders, Hutterites, Conservatives, River Brethren and Others?" (http://thirdwaycafe.com/faq/what-about-old-orders-hutterites-conservatives-river-brethren-and-others/) . Third Way. 2021 . Retrieved 20 May 2021 . ^ (#cite_ref-Huffman1920_29-0) Huffman, Jasper Abraham (1920). History of the Mennonite Brethren in Christ Church . Bethel Publishing Company. p. 59. ^ Jump up to: a b Willis, Daniel (1 May 2022). "14 Objections to the Head Covering Answered" (https://web.archive.org/web/20230414184042/https://soundfaith.org/videos/) . Sound Faith. Archived from the original (http://soundfaith.org/videos/) on 14 April 2023 . Retrieved 2 May 2022 . ^ Jump up to: a b c d Ruth, Merle (2022). The Significance of the Christian Woman's Veiling . Christian Light Publications. p. 17. ^ Jump up to: a b c Dunkard Brethren Church Polity . Dunkard Brethren Church (/wiki/Dunkard_Brethren_Church) . 1 November 2021. p. 6. ^ Jump up to: a b c "Q: So what about the funny clothes? Do you dress like the Amish?" (https://web.archive.org/web/20210809211604/https://www.conservativefriend.org/faq.htm) . Stillwater Monthly Meeting of Ohio Yearly Meeting of Friends. Archived from the original (https://www.conservativefriend.org/faq.htm) on 9 August 2021 . Retrieved 10 April 2022 . Women usually wear long-sleeved, long dresses, and a head-covering such as a scarf, bonnet, or cap. ^ Jump up to: a b c d Schaff, Philip (1889). A Select Library of the Nicene and Post-Nicene Fathers of the Christian Church: St. Chrysostom: Homilies on the Epistles of Paul to the Corinthians . The Christian Literature Company. p. 152. Well then: the man he compelleth not to be always uncovered, but only when he prays. "For every man," saith he, "praying or prophesying, having his head covered, dishonoureth his head." But the woman he commands to be at all times covered. Wherefore also having said, "Every woman that prayeth or prophesieth with her head unveiled, dishonoureth her head," he stayed not at this point only, but also proceeded to say, "for it is one and the same thing as if she were shaven." But if to be shaven is always dishonourable, it is plain too that being uncovered is always a reproach. And not even with this only was he content, but he added again, saying, "The woman ought to have a sign of authority on her head, because of the angels". He signifies that not only at the time of prayer, but also continually, she ought to be covered. But with regard to the man, it is no longer about covering but about wearing long hair, that he so forms his discourse. To be covered he then only forbids, when a man is praying; but the wearing of long hair he discourages at all times. ^ (#cite_ref-36) Hole, Frank Binford. "F. B. Hole's Old and New Testament Commentary" (http://www.studylight.org/commentaries/fbh/view.cgi?bk=45&ch=11) . StudyLight . Retrieved 6 February 2016 . There is no contradiction between 1 Corinthians 11:5 of our chapter and 1 Corinthians 14:34, for the simple reason that there speaking in the assembly is in question, whereas in our chapter the assembly does not come into view until verse 1 Corinthians 11:17 is reached. Only then do we begin to consider things that may happen when we "come together." The praying or prophesying contemplated in verse 1 Corinthians 11:5 is not in connection with the formal assemblies of God's saints. ^ Jump up to: a b c d e f Bercot, David W. (1992). Common Sense: A New Approach to Understanding Scripture . Scroll Publishing Co. p. 68. ISBN (/wiki/ISBN_(identifier)) 978-0-924722-06-6 . The historical evidence is strikingly clear. The record reveals that the early churches all understood Paul to be talking about a cloth veil, not long hair. ... Hippolytus, a leader in the church in Rome around the year 200, compiled a record of the various customs and practices in that church from the generations that preceded him. His Apostolic Tradition contains this statement: "And let all the women have their heads covered with an opaque cloth, not with a veil of thin linen, for this is not a true covering." This written evidence of the course of performance of the early Christians is corroborated by the archaeological record. The pictures we have from the second and third centuries from the catacombs and other places depict Christian women praying with a cloth veil on their heads. So the historical record is crystal clear. It reveals that the early generation of believers understood the head covering to be a cloth veil — not long hair. ^ Jump up to: a b c d e Lee, Allan R. (19 March 2018). The Local Church Today and Tomorrow: A Back to the Future Handbook on New Testament Principles . WestBow Press. ISBN (/wiki/ISBN_(identifier)) 978-1-9736-1615-3 . Nature itself is therefore a divine confirmation of the constitutional sense of the impropriety of women appearing in the assembly without a head covering (v. 13). The words "for her long hair is given to her as a covering" (v. 15) "do not mean that the woman's hair is her covering and that she needs no veil, a view vitiating the force of 11:2-14." For example, if hair were the only covering referred to in this passage (11:1-16), then verse 6 would have to be translated "If a woman does not wear her hair, she should have to have her hair cut or shaved off, she should wear her hair," which is quite ludicrous. Two coverings are spoken of in the passage. This is established by the fact that two different Greek words ... ^ Jump up to: a b c Marlowe, Michael D. "The Woman's Headcovering" (http://www.bible-researcher.com/headcoverings.html) . Bible Research . Retrieved 27 April 2022 . ^ Jump up to: a b Bernard, David (1985). Practical Holiness . Word Aflame Press. ^ Jump up to: a b "Veil" (http://www.earlychristiandictionary.com/Veil.html) . Early Christian Dictionary . Retrieved 7 September 2021 . ^ (#cite_ref-42) Earle, Alice Morse (1903). Two Centuries of Costume in America, Vol. 2 (1620–1820) . The Macmillan Company. p. 582. One singular thing may be noted in this history, – that with all the vagaries of fashion, woman has never violated the Biblical law that bade her cover her head. She has never gone to church services bareheaded. ^ Jump up to: a b c d e Walsh, Harper (1 November 2019). Saudi Arabia Undercover: Includes Bahrain, Bangkok and Cairo . Monsoon Books. ISBN (/wiki/ISBN_(identifier)) 978-1-912049-61-5 . There are Christian women in the Middle East who cover their hair and heads daily. Some wear burkas too. ^ Jump up to: a b c "Cross-Cultural Head Coverings" (https://csames.illinois.edu/system/files/2020-12/Cross-Culture_Head_Coverings.pdf#:~:text=The%20practice%20of%20head%20covering,a%20sari%20during%20religious%20services.) (PDF) . University of Illinois Urbana-Champaign (/wiki/University_of_Illinois_Urbana-Champaign) . 2020. p. 3 . Retrieved 9 March 2024 . Mantillas are still worn by many Spanish and Latina women during religious ceremonies, and many Christian women in India still cover their heads with a veil, scarf, shawl or the end of a sari during religious services. ^ Jump up to: a b c d e f Zăhăleanu, Daria (3 September 2017). "The Batik: Between Tradition And Feminism" (https://www.thegazelle.org/issue/116/the-batik-between-tradition-and-feminism) . The Gazelle . Retrieved 1 February 2024 . For elderly women in a more conservative orthodox region in the Eastern part of Romania, called Moldova, or Western Moldavia, the batik is a sign of modesty and keeping up tradition. It is said to be the umbrella of God upon them, a piece of clothing that connects them with divinity. Women don't need to worry about the way they arrange their hair, a mundane practice that would distance them from God. When I asked women in Moldova if they would go bareheaded if they had the choice, most of them refused to imagine this. Even today, the picture of bareheaded women is not accepted in the region of Moldova. The Western model of showing your hair, which is promoted by media, is associated with vanity. ^ Jump up to: a b Gdaniec, Cordula (1 May 2010). Cultural Diversity in Russian Cities: The Urban Landscape in the Post-Soviet Era . Berghahn Books. p. 161. ISBN (/wiki/ISBN_(identifier)) 9781845456658 . Retrieved 27 October 2012 . According to Russian Orthodox tradition women cover their heads when entering a church. ^ Jump up to: a b Lindholm, Christina. "The Politics of Christian and Muslim Women's Head Covers" (https://digitalcommons.unl.edu/cgi/viewcontent.cgi?article=1707&context=tsaconf) . University of Nebraska–Lincoln (/wiki/University_of_Nebraska%E2%80%93Lincoln) . Retrieved 9 March 2024 . Observant Coptic Christians still wear head covers in Egypt and figure 2 portrays Natalya, a Christian Ethiopian girl who was on a class field trip to visit the 12th century stone churches in Lalibela, Ethiopia. ^ Jump up to: a b c Pierce, Ronald W.; Groothuis, Rebecca Merrill; Fee, Gordon D. (25 July 2005). Discovering Biblical Equality . InterVarsity Press. p. 362. ISBN (/wiki/ISBN_(identifier)) 978-0-8308-2834-0 . In the contemporary world such head coverings (whatever they were in fact) have little to no social significance. Thus this is rightly understood to be a cultural issue and a matter of personal choice for a believer today. ^ Jump up to: a b c d Gordon, Greg (31 August 2015). "Are Head Coverings Really for Today?" (https://evangelicalfocus.com/yourblog/929/Are-Head-Coverings-Really-for-Today-) . Evangelical Focus . Retrieved 2 May 2022 . One of the most questioned practices in the New Testament in the modern day Western Church is the practice of Head Coverings for women. Yet to get perspective we need to look over the panoply of God's Church for 2000 years and see that this is not something new but old — and has been practiced diligently over the ages. It is hard to imagine but since the 1960s the Church almost entirely practiced this tradition. The influence of secular reasoning, feminism and liberal theology have led to the questioning and, ultimately, the casting aside of this practice in the Church at large in the evangelical world. ^ Jump up to: a b c d Bercot, David W. (1992). Common Sense: A New Approach to Understanding Scripture . Scroll Publishing Co. p. 58. ISBN (/wiki/ISBN_(identifier)) 978-0-924722-06-6 . ... one of the popular understandings today of 1 Corinthians 11 is that this was simply a first century cultural problem. Paul gave his instruction about the head covering because prostitues didn't wear headcoverings, and if the Christian women weren't veiled, they would be thought of as prostitutes. ... Yet, it is not based on any historical evidence whatsoever from the writings of the early Church. It is someone's sheer conjecture. ^ (#cite_ref-Barash2022_51-0) Barash, Nechama Goldman (18 June 2022). "Women, hair covering and sotah" (https://www.jpost.com/judaism/article-709645) . The Jerusalem Post (/wiki/The_Jerusalem_Post) . Retrieved 14 October 2022 . In its ensuing discussion of the Mishnah, the Talmud asserts unequivocally that going out bareheaded violates biblical law. In Ketubot 72a, it states, "And who is considered a woman who violates dat yehudit? One who goes out and her head is uncovered." The Talmud asks, "The prohibition against a woman going out with her head uncovered is not merely a custom of Jewish women. Rather, it is by Torah law, as it is written, 'And he shall uncover the head of the woman'" (Numbers 5:18). The biblical verse cited as textual support for hair coverings is found in the Talmud in the context of a woman accused by her husband of adultery without the support of witnesses. In rabbinic texts, such a woman is referred to as a sotah (one who goes astray) and this is the common term used to reference the biblical text, as well. There is no certain way to determine whether this woman has sinned or whether her husband has been overcome by jealousy. Given the severity of the accusation and the lack of evidence, the woman is brought before the High Priest to undergo a ritual that will establish her guilt or her innocence. One of the steps involves a ritual that uncovers her head or dishevels her hair. In Numbers 5:18, it says, "After he has made the woman stand before the Lord, the priest shall uncover/dishevel/unbind the woman's head and place upon her hands the meal offering of remembrance, which is a meal offering of jealousy. And in the priest's hands shall be the water of bitterness that induces the spell." ^ (#cite_ref-52) "Ketubot 72a-72b" (https://www.sefaria.org/Ketubot.72a.1?lang=bi) . The William Davidson Talmud (Koren - Steinsaltz) . Sefaria. The mishna stated: And who is considered a woman who violates the precepts of Jewish women? One who goes out and her head is uncovered. The Gemara asks: The prohibition against a woman going out with her head uncovered is not merely a custom of Jewish women. Rather, it is by Torah law, as it is written with regard to a woman suspected by her husband of having been unfaithful: "And he shall uncover the head of the woman" (Numbers 5:18). And the school of Rabbi Yishmael taught: From here there is a warning to Jewish women not to go out with an uncovered head, since if the Torah states that a woman suspected of adultery must have her head uncovered, this indicates that a married woman must generally cover her head. The Gemara explains: By Torah law, if she covers her head with her basket [ kilta ], it seems well and is sufficient. But by precepts of Jewish women, i.e., custom, even if her head is covered by her basket this is also prohibited; she requires a substantial head covering. ^ (#cite_ref-Baskin_53-0) Baskin, Judith R. "Covering of the Head" (https://www.jewishvirtuallibrary.org/covering-of-the-head) . Jewish Virtual Library (/wiki/Jewish_Virtual_Library) . Retrieved 6 March 2022 . In biblical times, women covered their heads with veils or scarves. The unveiling of a woman's hair was considered a humiliation and punishment (Isa. 3:17; cf. Num. 5:18 on the loosening of the hair of a woman suspected of adultery; III Macc. 4:6; and Sus. 32). ^ Jump up to: a b Budin, Stephanie Lynn; Turfa, Jean Macintosh (12 August 2016). Women in Antiquity: Real Women across the Ancient World . Routledge. ISBN (/wiki/ISBN_(identifier)) 978-1-317-21990-3 . Megan Cifarelli has argued that the raised skirts and uncovered heads of women captives (e.g., Cifarelli 1998:220, fig. 17; see also Marcus 1995: Pl. VI and King 1915: Plates XXIII and L) would have signalled their immodesty and sexual availability, which in turn would have indicated their humiliation and debasement (Cifarelli 1998: 221-22; cf. Marcus 1995:202). She points to Isaiah 47:1-3's image of dethroned daughter Babylon removing her veil, hiking up her skirts, and revealing her legs as indicative of the nakedness and shame the text attributes to this figure, and notes the roles played in Assyrian law of shortening or removing women's clothing. ^ Jump up to: a b Ellinson, G. (September 1992). Women and Mitzvot: The Modest Way . Feldheim Publishers. p. 205. ISBN (/wiki/ISBN_(identifier)) 978-1-58330-148-7 . ^ (#cite_ref-Weitz2005_56-0) Weitz, Rose (12 January 2005). Rapunzel's Daughters: What Women's Hair Tells Us About Women's Lives . Farrar, Straus and Giroux. p. 20. ISBN (/wiki/ISBN_(identifier)) 9781429931137 . The Hebrew word for bride, kalah , derives from a word meaning "to cover," and the Latin word for "to marry" — nubere , the source of the English word "nuptials" — literally means to veil, as clouds ( nubes ) cover the sky. Following the same logic, by the time of Jesus, Jewish law permitted a man to divorce a woman by uncovering her hair. In addition, if a woman ever uncovered her own hair in public, the law took this as evidence of her infidelity and permitted her husband to divorce her without returning her dowry or paying her alimony. For centuries thereafter, Christian and Jewish married women throoughout most of Europe wore their hair long, bound, and covered. Most Muslim cultures, which share some of their roots with Christianity and Judaism, still require women to wear veils outside the home. ^ (#cite_ref-Milliken2020_57-0) Milliken, Roberta (10 December 2020). A Cultural History of Hair in the Middle Ages . Bloomsbury Publishing. p. 54. ISBN (/wiki/ISBN_(identifier)) 978-1-350-10303-0 . ^ (#cite_ref-Salisbury1992_58-0) Salisbury, Joyce E. (17 November 1992). Church Fathers, Independent Virgins . Verso. p. 24. ISBN (/wiki/ISBN_(identifier)) 978-0-86091-596-6 . ^ Jump up to: a b Phillips, David (13 August 2014). Headcovering Throughout Christian History: The Church's Response to 1 Corinthians 11:2-16 . Lockman. ^ Jump up to: a b Price, Greg. "Headcoverings in Scripture - Chapter Five: What Does Church History Teach?" (https://www.biblebeliever.co.za/Brethren%20Assemblys/Headcoverings%20in%20Scripture%20-%20What%20Does%20Church%20History%20Teach.html) . SABB . Retrieved 8 April 2022 . ^ (#cite_ref-61) Hippolytus, and Easton, B. (1934). The Apostolic tradition of Hippolytus. New York: Macmillan, p.43. ^ Jump up to: a b Bercot, David W. (1992). Common Sense: A New Approach to Understanding Scripture . Scroll Publishing Co. p. 66. ISBN (/wiki/ISBN_(identifier)) 978-0-924722-06-6 . ^ Jump up to: a b "On Head Coverings" (https://classicalchristianity.com/2012/01/11/on-head-coverings/) . Classical Christianity. 11 January 2012 . Retrieved 25 January 2022 . ^ (#cite_ref-64) Clement of Alexandria. (1885). The Instructor. In A. Roberts, J. Donaldson, & A. C. Coxe (Eds.), Fathers of the Second Century: Hermas, Tatian, Athenagoras, Theophilus, and Clement of Alexandria (Entire) (Vol. 2, p. 290). Buffalo, NY: Christian Literature Company. ^ (#cite_ref-65) Fragment from the Books of the Hypotyposes in Oecumenius from Book III. On 1 Corinthians 11:10. ^ Jump up to: a b c d e Pusey, Edward Bouverie (1842). A Library of Fathers of the Holy Catholic Church, Anterior to the Division of the East and West . J.H. Parker. pp. 349, 357. ^ (#cite_ref-DanielHughes2011_68-0) Daniel-Hughes, C. (10 October 2011). The Salvation of the Flesh in Tertullian of Carthage: Dressing for the Resurrection . Springer. ISBN (/wiki/ISBN_(identifier)) 978-0-230-33807-4 . ^ (#cite_ref-Shank1992_69-0) Shank, Tom (1992). "...Let Her Be Veiled.": An in-depth study of 1 Corinthians 11:1-16 . Eureka (/wiki/Eureka,_Montana) : Torch Publications. p. 8. The [male] Jews of this era worshipped and prayed with a covering called a tallith on their heads. ^ (#cite_ref-70) Geoffrey D. Dunn. Rhetoric and Tertullian's 'De virginibus velandis' . Centre for Early Christian Studies, Brisbane, 2005 ^ Jump up to: a b c d e f Anderson, Cory A. (2013). The Ornament of a Spirit: Exploring the Reasons Covering Styles Change . Stoneboro (/wiki/Stoneboro,_Pennsylvania) : Ridgeway Publishing. pp. 14–21, 29–30, 85. ^ (#cite_ref-72) Tertullian. (1885). On the Veiling of Virgins . In A. Roberts, J. Donaldson, & A. C. Coxe (Eds.), S. Thelwall (Trans.), Fathers of the Third Century: Tertullian, Part Fourth; Minucius Felix; Commodian; Origen, Parts First and Second (Vol. 4, p. 33). Buffalo, NY: Christian Literature Company. ^ (#cite_ref-73) Johnson, Lewis (1962). The Wycliffe Bible Commentary . Chicago: Moody Press. pp. 1247–1248. ^ (#cite_ref-74) Head Covering in First Christianity – Context , AnonymousChristian, 24 July 2018 , retrieved December 5, 2018 ^ Jump up to: a b c "On Account of the Angels: Why I Cover My Head" (http://orthodoxinfo.com/praxis/headcoverings.aspx) . Orthodox Christian Information Center . Retrieved 8 April 2022 . St. John Chrysostom thought that Paul, in admonishing women to wear a covering "because of the angels", meant it "not at the time of prayer only, but also continually, she ought to be covered." Fr. Rhodes agrees: "The veil can be the constant symbol of the true woman of God ... a way of life ... a testimony of faith and of the salvation of God, not only before men, but angels as well." ^ (#cite_ref-76) L. Kovacs, Judith (2005). The Church's Bible (1 Corinthians) . Wm. B. Eerdmans Publishing. p. 180. ^ Jump up to: a b c d Trader, Alexis (18 October 2022). "Modesty, History, Veils, and Head-coverings" (https://odosa.org/news/article-on-headcoverings) . Orthodox Church in America (/wiki/Orthodox_Church_in_America) . ^ (#cite_ref-78) Jerome. (1893). The Letters of St. Jerome. In P. Schaff & H. Wace (Eds.), W. H. Fremantle, G. Lewis, & W. G. Martley (Trans.), St. Jerome: Letters and Select Works (Vol. 6, p. 292). New York: Christian Literature Company. ^ (#cite_ref-79) Augustine of Hippo. (1886). Letters of St. Augustin. In P. Schaff (Ed.), J. G. Cunningham (Trans.), The Confessions and Letters of St. Augustin with a Sketch of His Life and Work (Vol. 1, p. 588). Buffalo, NY: Christian Literature Company. ^ (#cite_ref-80) Bercot, David. "Head Covering Through the Centuries" (http://www.scrollpublishing.com/store/head-covering-history.html) . Scroll Publishing . Retrieved 28 April 2016 . ^ Jump up to: a b Hunt, Margaret (11 June 2014). Women in Eighteenth Century Europe . Taylor & Francis. p. 58. ISBN (/wiki/ISBN_(identifier)) 9781317883876 . Today many people associate rules about veiling and headscarves with the Muslim world, but in the eighteenth century they were common among Christians as well, in line with 1 Corinthians 11:4-13 which appears not only to prescribe headcoverings for any women who prays or goes to church, but explicitly to associate it with female subordination, which Islamic veiling traditions do not typically do. Many Christian women wore a head-covering all the time, and certainly when they went outside; those who did not would have been barred from church and likely harassed on the street. ... Veils were, of course, required for Catholic nuns, and a veil that actually obscured the face was also a mark of elite status throughout most of Europe. Spanish noblewomen wore them well into the eighteenth century, and so did Venetian women, both elites and non-elites. Across Europe almost any woman who could afford them also wore them to travel. ^ Jump up to: a b Anderson, Cory; Anderson, Jennifer (2019). Fitted to Holiness: How Modesty is Achieved and Compromised among the Plain People . Millersburg (/wiki/Millersburg,_Ohio) : Acorn Publishing. p. 129. Throughout the nineteenth century, hats were a cultural necessity; women were never seen in public without one. Up until World War I, a woman slipped on a white cap immediately upon arising, unless she was in mourning, and some type of hat or bonnet was worn every time she left the house. ^ (#cite_ref-BalzaniBesnier2021_83-0) Balzani, Marzia; Besnier, Niko (29 November 2021). Social and Cultural Anthropology for the 21st Century: Connected Worlds . Routledge. ISBN (/wiki/ISBN_(identifier)) 978-1-317-57178-0 . Head covers are generally associated with Islam, but until recently Christian women in Mediterranean countries also covered their heads in public, and some still do, particularly in religious contexts such as attending mass. ^ (#cite_ref-Hammond2018_84-0) Hammond, Laura C. (6 August 2018). This Place Will Become Home: Refugee Repatriation to Ethiopia . Cornell University Press. p. 92. ISBN (/wiki/ISBN_(identifier)) 978-1-5017-2725-2 . Inside her house a Christian woman usually did not cover hear head and only wore a netsela (ነጠላ, a shawl made from white, usually homespun cotton and often with a colorful banner woven into its edges) when working in the sun or going out of her compound. ^ (#cite_ref-Ramdin2000_85-0) Ramdin, Ron (April 2000). Arising from Bondage: A History of the Indo-Caribbean People . New York University Press (/wiki/New_York_University_Press) . p. 222. ISBN (/wiki/ISBN_(identifier)) 978-0-8147-7548-6 . As a mark of respect, Indian women were expected to cover their heads. And over the years, most rural Hindu, Muslim and Christian women have done so with the Orhni, a thin shawl-like head covering. ^ Jump up to: a b Toops, Stanley W.; Peterson, Mark Allen; Anderson, Sheldon (24 April 2018). International Studies: An Interdisciplinary Approach to Global Issues . Routledge. ISBN (/wiki/ISBN_(identifier)) 978-0-429-97478-6 . In European history, Christian women wore veils or other head coverings in church, in accordance with a biblical injunction (1 Corinthians 11:4-10). ^ (#cite_ref-Safran2014_87-0) Safran, Linda (21 March 2014). The Medieval Salento: Art and Identity in Southern Italy . University of Pennsylvania Press. p. 112. ISBN (/wiki/ISBN_(identifier)) 9780812245547 . ^ (#cite_ref-EvansBartholomew2009_88-0) Evans, Hilary; Bartholomew, Robert E. (2009). Outbreak!: The Encyclopedia of Extraordinary Social Behavior . Anomalist Books. p. 33. ISBN (/wiki/ISBN_(identifier)) 978-1-933665-25-2 . ^ (#cite_ref-89) The Month, Volume 161 . 1933. p. 352. ^ Jump up to: a b c d Mitchell, Laurence (2007). Serbia . Bradt Travel Guides. ISBN (/wiki/ISBN_(identifier)) 978-1-84162-203-3 . Further north, in Vojvodina, some older Slovak women still regularly wear the headscarf, pleated skirt and embroidered apron that is their national dress. All across Serbia, as elsewhere in eastern Europe, many older women wear headscarves ^ Jump up to: a b Mingus, Elaine (19 May 2015). "Christian Headcovering in India" (https://www.headcoveringmovement.com/articles/christian-headcovering-in-india) . The Head Covering Movement. There were many times that a woman would be called into prayer while preparing a meal. Instead of running to get a head scarf, she would grab a readily available dish towel to cover her head instead. ^ (#cite_ref-Fischer-Mirkin1995_92-0) Fischer-Mirkin, Toby (1995). Dress Code: Understanding the Hidden Meanings of Women's Clothes . Clarkson Potter Publishers. p. 241. ISBN (/wiki/ISBN_(identifier)) 978-0-517-59329-5 . ^ Jump up to: a b c d e Williams, Paul K. (2005). The Head Coverings of I Corinthians 11 . pp. 6–10. ^ (#cite_ref-Mooney_94-0) Mooney, Myron (18 May 2020). "Head Covering: A Forgotten Christian Practice for Modern Times" (http://fpcurrent.com/head-covering/) . Free Presbyterian Church of North America (/wiki/Free_Presbyterian_Church_of_North_America) . Retrieved 26 February 2023 . The National Organization of Women (NOW) was founded and presided over by Betty Friedan. ... In 1968, as an agnostic activist, Friedan led her organization in a nationwide hat burning event. They touted the event's purpose, "To protest the second-class status of women in all churches. Because the wearing of a head covering by women at religious services is a symbol of submission" (p 16). ^ Jump up to: a b c Katzenstein, Mary Fainsod (12 January 2021). Faithful and Fearless: Moving Feminist Protest inside the Church and Military . Princeton University Press (/wiki/Princeton_University_Press) . p. 151. ISBN (/wiki/ISBN_(identifier)) 978-0-691-22323-0 . ^ (#cite_ref-NOW1968_96-0) "Resolution on Head Coverings" (https://now.org/wp-content/uploads/2014/01/NOW-Issues-M-Z-Policy-Manual-1966-1996.pdf) (PDF) . National Organization for Women (/wiki/National_Organization_for_Women) . 1968. p. 277 . Retrieved 10 April 2022 . ^ (#cite_ref-97) "15 Women Defy Church 'Hat Law' (https://www.genealogybank.com/nbshare/AC01190613033845326681677205738) " (https://www.genealogybank.com/nbshare/AC01190613033845326681677205738) . Milwaukee Sentinel . April 7, 1969 . Retrieved 23 February 2023 . ^ (#cite_ref-98) " (https://www.genealogybank.com/nbshare/AC01190613033845326681677206311) 'Exhibitionism' (https://www.genealogybank.com/nbshare/AC01190613033845326681677206311) " (https://www.genealogybank.com/nbshare/AC01190613033845326681677206311) . Milwaukee Sentinel . April 14, 1969 . Retrieved 23 February 2023 . ^ (#cite_ref-Tomlinson2014_99-0) Tomlinson, Heather (7 October 2014). "My Headcovering Experiment" (https://www.premierchristianradio.com/Topics2/Life/Lifestyle/My-Headcovering-Experiment) . Premier Christian Radio (/wiki/Premier_Christian_Radio) . Retrieved 10 April 2022 . Recently, there has been a head covering revival in certain wings of the US Church: especially the ultra-reformed and those calling themselves ' Torah-observant (/wiki/Torah-observant) '. Lobbying in favour of the practice is The Head Covering Movement, set up last year by a man called Jeremy Gardiner, who cites the theologically conservative Gospel Coalition in his profession of faith. The movement's website features personal stories of women who are usually the only head coverers in their churches, as well as arguments from scripture to support the practice. It cites Martin Luther, William Tyndale and Thomas Aquinas, among others. ^ Jump up to: a b c Harmon, Katharine E. (25 October 2018). "Fashion Trend Alert: Chapel Veils are Back!" (https://www.praytellblog.com/index.php/2018/10/25/fashion-trend-alert-chapel-veils-are-back/) . PrayTellBlog . Retrieved 10 April 2022 . In turn, the 1983 Code of Canon Law did not reissue the canon, and by doing so, effectively nullified the previous 1917 code. While some women continued to wear hats (I distinctly recall a gray-haired woman who wore a weird woolen stocking cap covered with wooden beads in my 1980's grade school parish experience), the practice was relatively limited to older parishioners, and was no longer stipulated or encouraged amongst the faithful. ^ Jump up to: a b Loop, Jennifer (12 May 2020). "Why I Keep My Headcovering" (https://www.ntwrightonline.org/why-i-keep-my-headcovering/) . N. T. Wright (/wiki/N._T._Wright) . Retrieved 9 April 2022 . ^ (#cite_ref-102) Cieslik, Emma (8 February 2022). "Why a New Generation of Catholic Women Is Wearing Chapel Veils" (https://religionandpolitics.org/2022/02/08/why-a-new-generation-of-catholic-women-is-wearing-chapel-veils/) . John C. Danforth Center on Religion and Politics (/wiki/Washington_University_in_St._Louis) . Retrieved 9 March 2024 . However, in the last decade, a minority of Catholic women, particularly young millennial Americans, have chosen to voluntarily cover their heads. ^ (#cite_ref-Allen2016_103-0) Allen, Bob (31 August 2016). "Christian woman ordered to remove scarf for driver's license photo files lawsuit" (https://baptistnews.com/article/christian-woman-ordered-to-remove-scarf-for-drivers-license-photo-files-lawsuit/) . Baptist News Global (/wiki/Baptist_News_Global) . Retrieved 9 March 2024 . Church Fathers like Hippolytus of Rome and Protestant Reformer Martin Luther taught that women should wear veils during public worship. While most followers of Western Christianity have abandoned the practice relatively recently, it is still practiced today in some conservative Mennonite and Amish traditions. In recent years the practice has spread to other denominations in the form of a "head covering movement" embraced by some in the "complementarian" branch of American evangelicalism that emphasizes male headship and wifely submission in the church and home. ^ (#cite_ref-104) "Why a New Generation of Catholic Women Is Wearing Chapel Veils" (https://religionandpolitics.org/2022/02/08/why-a-new-generation-of-catholic-women-is-wearing-chapel-veils/) . Religion & Politics. 8 February 2022 . Retrieved 2024-04-01 . ^ (#cite_ref-Yegorov2019_105-0) Yegorov, Oleg (11 December 2019). "Why do women cover their heads in Orthodox churches?" (https://www.rbth.com/lifestyle/331402-women-russican-church-head-cover) . Russia Beyond (/wiki/Russia_Beyond) . In the Orthodox tradition, this is a big no-no. Of course, no one would kick a bareheaded woman out of an Orthodox church, should she walk in, but she is very likely to face some disapproving and judging looks, especially from the local babushkas (you'll always find a few babushkas inside an Orthodox church in Russia). The reason is simple: in an Orthodox church, a woman should wear a headscarf. ^ (#cite_ref-106) The Pacific, Volume 50 . J.W. Douglas. 1901. p. 227. ^ Jump up to: a b Zuck, RoyCheck B. (5 September 2006). Vital New Testament Issues: Examining New Testament Passages and Problems . Wipf and Stock Publishers. p. 105. ISBN (/wiki/ISBN_(identifier)) 978-1-59752-684-5 . ^ (#cite_ref-Lum2000_108-0) Lum, Kenneth Anthony (18 January 2000). Praising His Name In The Dance: Spirit Possession in the Spiritual Baptist Faith and Orisha Work in Trinidad, West Indies . Routledge (/wiki/Routledge) . p. 224. ISBN (/wiki/ISBN_(identifier)) 978-1-136-76630-5 . ^ (#cite_ref-Flinn2014_109-0) Flinn, Isabella (1 May 2014). Pinpricks in the Curtain: India Through the Eyes of an Unlikely Missionary . WestBow Press. p. 234. ISBN (/wiki/ISBN_(identifier)) 9781490834313 . ^ (#cite_ref-Shaw2016_110-0) Shaw, Stanford J. (27 July 2016). The Jews of the Ottoman Empire and the Turkish Republic . Springer. p. 170. ISBN (/wiki/ISBN_(identifier)) 978-1-349-12235-6 . ... Christian women wore the marama shawl over both their heads and necks. ^ Jump up to: a b Schrock, Anna (19 February 2022). "Why Do Amish Women Wear Head Coverings?" (https://amish-heritage.org/why-do-amish-women-wear-head-coverings/) . Amish Heritage . Retrieved 10 May 2022 . ^ (#cite_ref-Hochstetler2002_112-0) Hochstetler, Ernest (2002). "The Covering/Headship Veil" (http://www.beachyam.org/secure/archive/BCS2002-Covering.pdf) (PDF) . BeachyAM . Retrieved 10 May 2022 . ^ Jump up to: a b Scott, Stephen (1 January 1996). Introduction to Old Order and Conservative Mennonite Groups: People's Place Book No. 12 . Simon and Schuster. ISBN (/wiki/ISBN_(identifier)) 978-1-68099-243-4 . Many Charity women wear the usual cape dress worn by most conservative Mennonites, but a jacket type upper garment is also very common and is worn with a very long skirt. The type of head covering is not specified, but most women wear a large, opaque, white veiling. ^ Jump up to: a b Hume, Lynne (24 October 2013). The Religious Life of Dress: Global Fashion and Faith . Bloomsbury Publishing. ISBN (/wiki/ISBN_(identifier)) 978-0-85785-363-9 . Following the general Anabaptist worldview, Hutterite dress not only emphasizes modesty but also separation from the world. ... The women wear ankle-length skirts or dresses with a blouse, a kerchief-style head covering with polka dots (tiechle), usually black and white, and solid comfortable shoes. ^ (#cite_ref-SL_115-0) "What are Church Hats?" (https://web.archive.org/web/20210514230453/https://www.southernliving.com/culture/church-hats) . Southern Living (/wiki/Southern_Living) . Archived from the original (https://www.southernliving.com/culture/church-hats) on 14 May 2021 . Retrieved 14 January 2018 . Church hats have been a key part of churchgoers' Sunday best for years, and are still an important aspect of dress in some churches today. The practice of covering one's head for church originally came from 1 Corinthians 11:15. The simple head covering has been adapted and expanded to become a stylish part of Southern women's churchgoing attire. At the turn of the century, many Southern ladies wore simple hats to church out of respect, reverence for the service, and continuity with passed-down traditions. The church hat tradition continues today, with hats — sometimes called "crowns" — in bright colors, bold patterns, and eye-catching styles at Sunday services across the South. ^ (#cite_ref-Chicago_116-0) "Church Helps Uphold Assyrian Tradition –" (http://www.chicagotalks.org/?p=54873) . ChicagoTalks. 10 June 2015 . Retrieved 9 March 2024 . Assyrian youth women wear traditional Yalkhtas to cover their hair, as a sign of respect and rank in church, as they follow along in worship at Saint Mary's Assyrian Church of the East in Roselle, Ill. ^ (#cite_ref-Reagan1994_117-0) Reagan, David R. (1 January 1994). Trusting God: Learning to Walk by Faith . Lamb & Lion Ministries. p. 164. ISBN (/wiki/ISBN_(identifier)) 9780945593034 . One thing that fascinated me about the Eastern European churches was the "sea of white" that I saw every time I got up to preach. This was because most of the churches practiced head covering for women. ^ (#cite_ref-Haji2011_118-0) Haji, Nafisa (2011-05-17). The Sweetness of Tears . HarperCollins. p. 316. ISBN (/wiki/ISBN_(identifier)) 9780061780103 . Retrieved 13 November 2012 . I went to church, something I'd never expected to do in Pakistan. Sadiq told me that his grandfather's nurse, Sausan, was Christian. Presbyterian. My second Sunday in Karachi, I went to services with her. I was glad of the clothese that Haseena Auntie had helped me shop for, because all the women in church covered their heads, just like Muslim women, with their dupattas . ^ Jump up to: a b Bronner, Simon J (March 4, 2015). Encyclopedia of American Folklife . Routledge. p. 492. ISBN (/wiki/ISBN_(identifier)) 9781317471950 . ^ Jump up to: a b Hodgkin, Emily (29 January 2018). "Kate Middleton to be forced to do this at Meghan Markle and Prince Harry's wedding?" (https://www.express.co.uk/life-style/life/911056/kate-middleton-meghan-markle-wedding-prince-harry-news) . Daily Express (/wiki/Daily_Express) . Retrieved 20 May 2018 . However, as the Royal Family are known to be sticklers for tradition, hats will no doubt be required for Harry's wedding. The wearing hats to church by all women is traditionally a requirement of the Anglican church. This is due to the writing of St Paul in Corinthians, where he has some pretty strong feelings about women wearing hats. In 1 Corinthians 11:1-34 he said: "I want you to understand that the head of every man is Christ, the head of a wife is her husband, and the head of Christ is God. Every man who prays or prophesies with his head covered dishonours his head, but every wife who prays or prophesies with her head uncovered dishonours her head, since it is the same as if her head were shaven." ^ (#cite_ref-121) "Fœderatio Internationalis Una Voce: Positio N. 22 - HEADCOVERINGS IN CHURCH IN THE EXTRAORDINARY FORM" (https://lms.org.uk/sites/default/files/resource_documents/fiuv/pp22_headcoverings.pdf) (PDF) . The Latin Mass Society of England & Wales. 2014. p. 6 . Retrieved 10 April 2022 . ^ (#cite_ref-SC2_122-0) The Lutheran Liturgy: Authorized by the Synods Constituting The Evangelical Lutheran Synodical Conference of North America . St. Louis (/wiki/St._Louis) : Concordia Publishing House. 1941. p. 427. ^ (#cite_ref-123) "An FAQ on Veiling" (https://www.lutheranveils.com/the-reason-for-veil) . Lutheran Veils . Retrieved 30 April 2024 . Head coverings have been common practice in both the East and Western spheres of Christendom, including among Lutherans, until roughly the 1960's. ^ (#cite_ref-Morgan20102_124-0) Morgan, Sue (2010-06-23). Women, Gender and Religious Cultures in Britain, 1800–1940 . Taylor & Francis. p. 102. ISBN (/wiki/ISBN_(identifier)) 9780415231152 . Retrieved 13 November 2012 . Several ardent Methodist women wrote to him, asking for his permission to speak. Mar Bosanquet (1739–1815) suggested that if Paul had instructed women to cover their heads when they spoke (1. Cor. 11:5) then he was surely giving direction on how women should conduct themselves when they preached. ^ (#cite_ref-Levering19032_125-0) Levering, Joseph Mortimer (1903). A History of Bethlehem, Pennsylvania, 1741-1892 . Times Publishing Company. p. 617. ^ (#cite_ref-Levine20222_126-0) Levine, S. E. Jihad (9 January 2022). "Religious Head Coverings and Face Veils - Exotic or Oppressive?" (https://www.dailyitem.com/news/lifestyles/religious-head-coverings-and-face-veils---exotic-or-oppressive/article_2d707dde-6d6e-11ec-9437-43f364f4bf09.html) . The Daily Item (/wiki/The_Daily_Item_(Sunbury)) . Retrieved 10 April 2022 . Bonnets are worn by many traditional Quaker women, and here in Pennsylvania, we're accustomed to seeing Amish and Mennonite women wearing prayer coverings and veils which can vary in style and color according to their communities. ^ Jump up to: a b Murray, John (15 January 1992). "The Use of Head Coverings in the Worship of God" (https://web.archive.org/web/20150312161900/https://presbyterianreformed.org/1992/01/use-head-coverings-worship-god/) . Presbyterian Reformed Church. Archived from the original (https://presbyterianreformed.org/1992/01/use-head-coverings-worship-god/) on 12 March 2015 . Retrieved 22 November 2021 . ^ Jump up to: a b Kraybill, Donald B. (5 October 2010). Concise Encyclopedia of Amish, Brethren, Hutterites, and Mennonites . JHU Press. p. 103. ISBN (/wiki/ISBN_(identifier)) 9780801896576 . Retrieved 13 November 2012 . During the 20th century, the wearing of head coverings declined in more assimilated groups, which gradually interpreted the Pauline teaching as referring to cultural practice in the early church without relevance for women in the modern world. Some churches in the mid-20th century had long and contentious discussions about wearing head coverings because proponents saw its decline as a serious erosion of obedience to scriptural teaching. ^ (#cite_ref-Kidder2017_129-0) Kidder, Nicole (29 September 2017). "History of Black Women Wearing Hats at Church" (https://classroom.synonym.com/history-of-black-women-wearing-hats-at-church-12079396.html) . Classroom . Retrieved 10 May 2022 . Prior to the 20th century, most American Christian women commonly followed Corinthians 1:11 and covered their heads in worship. ^ (#cite_ref-Courtais2006_130-0) Courtais, Georgine De (1 February 2006). Women's Hats, Headdresses And Hairstyles: With 453 Illustrations, Medieval to Modern . Courier Dover Publications. p. 130. ISBN (/wiki/ISBN_(identifier)) 9780486448503 . Retrieved 13 November 2012 . Although hats were not considered sufficiently respectable for church wear and very formal occasions they were gradually taking the place of bonnets, at least for younger women. ^ (#cite_ref-MarkVaughan2004_131-0) Mark, Rebecca; Vaughan, Robert C. (2004). The South . Greenwood Publishing Group. p. 175. ISBN (/wiki/ISBN_(identifier)) 9780313327346 . Retrieved 13 November 2012 . The red and orange turban described by the anonymous observer also looks forward to the flamboyant Sunday hats worn by African American middle-class women into the twenty-first century, hats celebrated stunningly by Michael Cunningham and Graig Marberry in Crowns: Portraits of Black Women in Church Hats . ^ (#cite_ref-Barrett2011_132-0) Barrett, Colleen (21 February 2011). "Why Do British Women Wear Hats to Weddings?" (https://www.popsugar.com/love/Why-Do-British-Women-Wear-Hats-Weddings-14324849) . PopSugar (/wiki/PopSugar) . Retrieved 14 January 2018 . ^ (#cite_ref-Cathcart2017_133-0) Cathcart, Laura (25 May 2017). "A milliner's guide to wearing hats in church" (https://web.archive.org/web/20180114184010/http://catholicherald.co.uk/magazine-post/a-milliners-guide-to-wearing-hats-in-church/) . The Catholic Herald (/wiki/The_Catholic_Herald) . Archived from the original (http://catholicherald.co.uk/magazine-post/a-milliners-guide-to-wearing-hats-in-church/) on 14 January 2018 . Retrieved 14 January 2018 . ^ (#cite_ref-134) Elisabeth, Hallgren Sjöberg (24 September 2017). "Såsom en slöja : Den kristna slöjan i en svensk kontext" (http://umu.diva-portal.org/smash/record.jsf?pid=diva2:688469) . Diva . ^ (#cite_ref-135) Longenecker, Dwight Longenecker (26 February 2013). "Living Little and Local" (https://aleteia.org/2013/02/26/living-little-and-local/) . Aleteia (/wiki/Aleteia) . Retrieved 5 February 2023 . ^ (#cite_ref-Lewis2002_136-0) Lewis, James R. (2002). The Encyclopedia of Cults, Sects, and New Religions . Prometheus Books. p. 151. ISBN (/wiki/ISBN_(identifier)) 9781615927388 . ^ (#cite_ref-137) Hostetler, John (1997). Hutterite Society . The Johns Hopkins University Press. p. 105. ISBN (/wiki/ISBN_(identifier)) 978-0-8018-5639-6 . ^ (#cite_ref-138) Thompson, Charles (2006). The Old German Baptist Brethren: Faith, Farming, and Change in the Virginia Blue Ridge . University of Illinois Press. p. 33. ISBN (/wiki/ISBN_(identifier)) 978-0-252-07343-4 . ^ (#cite_ref-Henold2008_139-0) Henold, Mary J. (2008). Catholic and Feminist: The Surprising History of the American Catholic Feminist Movement . UNC Press Books. p. 126. ISBN (/wiki/ISBN_(identifier)) 9780807859476 . Retrieved 13 November 2012 . At that time, official practice still dictated that Catholic women cover their heads in church. ^ (#cite_ref-Bandzuch2019_140-0) Bandzuch, Nancy (19 August 2019). "J1ST 084: Chapel Veil" (https://catholicsprouts.com/j1st-084-chapel-veil/) . Catholic Sprouts . Retrieved 9 April 2022 . Today, we're diving into another sacramental of our Faith: the Chapel Veil. ^ (#cite_ref-Lamontagne2017_141-0) Lamontagne, Kyla (15 March 2017). "Dear Edith: Why do some women wear veils at church?" (https://www.femcatholic.com/dear-edith/veiling-in-church) . FemCatholic . Retrieved 9 April 2022 . Fr. Mike [Schmitz] ... did a Q&A about Chapel veils that I feel explains what they are, why they are worn, and the history behind them. One of my favorite parts is when he describes it as sacramental, the same way a rosary or a scapular is. ^ (#cite_ref-142) McClintock, John; Strong, James (1891). Cyclopaedia of Biblical, Theological and Ecclesiastical Literature . Harper & Bros. p. 739. A white veil or coif, called velamen dominicale, was worn by females at the time of receiving the eucharist during the 5th and 6th centuries These veils were ordered by the councils of Autun 578 and Angers. ^ (#cite_ref-143) "The Liturgy and Ritual of the Celtic Church" (https://books.google.com/books?id=PHU3AAAAMAAJ) . The Church Quarterly Review . 10 : 78. 1880. ^ (#cite_ref-144) Schmidt, lvin (1989). Veiled and Silenced . Mercer University Press. p. 136. ^ (#cite_ref-145) Synod of Rome (Canon 3). Giovanni Domenico Mansi, Sacrorum Conciliorum Nova et Amplissima Collectio (Page 382) ^ (#cite_ref-146) Schmidt, Alvin (1989). Veiled and Silenced . Mercer University Press. p. 136. ^ (#cite_ref-147) Aquinas, Thomas. "Super I Epistolam B. Pauli ad Corinthios lectura" (https://web.archive.org/web/20160803112101/http://dhspriory.org/thomas/SS1Cor.htm#111) . Dominican House of Studies . Archived from the original (http://dhspriory.org/thomas/SS1Cor.htm#111) on 3 August 2016 . Retrieved 1 August 2016 . ^ (#cite_ref-148) Peters, Edward (2001). The 1917 Pio-Benedictine Code of Canon Law . Ignatius Press. p. 427. ^ (#cite_ref-149) Canon 6 of the 1983 Code of Canon Law (https://www.vatican.va/archive/ENG1104/__P2.HTM) ^ (#cite_ref-Shaju2021_150-0) Shaju, Anne Mary (25 November 2021). "Headscarves Were Outlawed In 1983, But The Church Still Insists Women Wear Them. Why?" (https://feminisminindia.com/2021/11/25/headscarves-were-outlawed-in-1983-but-the-church-still-insists-women-cover-their-heads-why/) . FII Media . Retrieved 26 January 2023 . ^ (#cite_ref-DeMello20122_151-0) DeMello, Margo (14 February 2012). Faces around the World . ABC-CLIO. p. 303. ISBN (/wiki/ISBN_(identifier)) 9781598846188 . Retrieved 13 November 2012 . ^ (#cite_ref-152) Susan C. Karant-Nunn, Merry E. Wiesner, ed. (2003-03-13). Luther on Women: A Sourcebook . Cambridge University Press. p. 31. ISBN (/wiki/ISBN_(identifier)) 9780521658843 . Otherwise and aside from that, the wife should put on a veil, just as a pious wife is duty-bound to help bear her husband's accident, illness, and misfortune on account of the evil flesh. ^ (#cite_ref-SC_153-0) The Lutheran Liturgy: Authorized by the Synods Constituting The Evangelical Lutheran Synodical Conference of North America . St. Louis (/wiki/St._Louis) : Concordia Publishing House. 1941. p. 427. ^ (#cite_ref-154) Koopman, John Henry (August 3, 2022). A Defense of Headcoverings in the Lutheran Church . Gottesdienst: The Journal of Lutheran Liturgy. pp. 9–10. ^ (#cite_ref-Crump20132_155-0) Crump, William D. (30 August 2013). The Christmas Encyclopedia, 3d ed . McFarland. p. 298. ISBN (/wiki/ISBN_(identifier)) 9781476605739 . ^ (#cite_ref-Snodgrass2015_156-0) Snodgrass, Mary Ellen (17 March 2015). World Clothing and Fashion: An Encyclopedia of History, Culture, and Social Influence . Routledge. ISBN (/wiki/ISBN_(identifier)) 978-1-317-45166-2 . During the Protestant Reformation, reformers John Calvin and John Knox interpreted Saint Paul's New Testament worship styles as requiring women to cover their heads on holy ground. In Germany, the typical white modesty shield trailed from the head to the heels. For peasant women in Terni, Italy, the embroidered linen veil projected over the forehead on a whalebone eyeshade. ^ (#cite_ref-Reasoner2021_157-0) Reasoner, Mark (24 August 2021). Five Models of Scripture . Wm. B. Eerdmans Publishing. ISBN (/wiki/ISBN_(identifier)) 978-1-4674-6272-3 . What about head coverings for women? On the basis of 1 Corinthians 11:2-16, Calvin taught that all women should have their heads covered when meeting in public worship. This practice is continued by some within Reformed, Anabaptist, and Catholic communities today. ^ Jump up to: a b Calvin, Jean; Pringle, John (1848). Commentary on the Epistles of Paul the Apostle to the Corinthians . Calvin Translation Society. p. 356. ^ (#cite_ref-159) John Calvin (/wiki/John_Calvin) . Seth Skolnitsky (ed.). Sermon on 1 Cor 11:2-3 . Presbyterian Heritage Publications. pp. 12–13. ^ (#cite_ref-Silversides1996_160-0) Silversides, David (1996). "The Regulative Principle: Is Headcovering Biblical?" (https://web.archive.org/web/20230402015129/https://www.semperreformanda.com/the-regulative-principle-of-worship/the-regulative-principle-of-worship-articlesindex/is-headcovering-biblical-by-d-silversides/) . Semper Reformanda. Archived from the original (https://www.semperreformanda.com/the-regulative-principle-of-worship/the-regulative-principle-of-worship-articlesindex/is-headcovering-biblical-by-d-silversides/) on 2 April 2023 . Retrieved 27 November 2023 . ^ (#cite_ref-161) Beza, Theodore (1599). The New Testament of our Lord Iesus Christ: translated out of Greeke by Theod. Beza; with brief summaries and expositions upon the hard places by the said authour, Ioac. Camer., and P. Lofeler Villerius; Englished by L. Tomson . p. 74. It appeareth that this was a politike law serving onely for the circumstances of the time that Paul lived in, by this reason, because in these our daye, for a man to speake bare-headed in an assembly, is a signe of subiection. ^ (#cite_ref-162) Whitaker, William (1588). A Disputation on Holy Scripture, Against the Papists, Especially Bellarmine and Stapleton . p. 549. He desires men to pray with uncovered, women with covered heads: which injunctions are not of a perpetual obligation; for they are not now observed even by the papists themselves; so as to make it plain that all churches are not bound to the same ceremonies. ^ (#cite_ref-163) Muller, Richard A. (/wiki/Richard_A._Muller) (2003). Post-Reformation Reformed Dogmatics: The Rise and Development of reformed orthodoxy, ca. 1520 to ca. 1725 . Vol. 2: Holy Scripture. Grand Rapids: Baker Academic. p. 482. Given the representative character of Whitaker's treatise and the use of Whitaker's work as a point of reference for sound doctrine throughout the seventeenth century, the following discussion adopts it as an outline and references other theologians in the course of the discussion, both filling out Whitaker's argument from other late sixteenth- and seventeenth-century sources and manifesting the broad applicability of Whitaker's rules and categories of interpretation. ^ (#cite_ref-164) Cawdrey, Daniel (1645). Vindiciae clavium: or, A vindication of The keyes of the kingdome of heaven, into the hands of the right owners . London: T. H. p. 57. Question: "Whether the Synod has power to enjoy things both in their nature and use indifferent." ...I answer: that for men to pray or prophesy with their heads covered, or with long hair, and women uncovered, were things in their own nature indifferent (unless you make it necessary, as a moral duty for men to pray or prophesy uncovered, and women contra; which no interpreters upon that text do)... ^ (#cite_ref-165) Cawdrey, Daniel; Palmer, Herbert; Members Of the Assembly of Divines. (1645). Sabbatum Redivivum: or, The Christian Sabbath Vindicated . London: Robert white. p. 463. Divine Apostolicall Institutions (that we may draw to our purpose) were again of two sorts: First, variable, or temporary, which were such injunctions as were prescribed, either for some speciall ends, as that law for abstaining from blood, and things strangled, Acts 15.1, for avoiding offence to the Jews, or to some special nations, or persons, as agreeable to the customs of those places and times, as that of women being vailed in the congregations, and some other the like. Secondly, invariable and perpetual: such as concerned the whole Church... ^ (#cite_ref-166) Poole, Matthew (1700). Annotations Upon the Holy Bible . p. 577. Interpreters rightly agree, that this and the following verses are to be interpreted from the customs of countries... Nothing in this is a further rule to christians, than that it is the duty of ministers, in praying and preaching, to use postures and habits that are not naturally, nor according to the custom of the place where they live, uncomely and irreverent, and so looked upon. ^ (#cite_ref-167) Turretin, Francis (1679–1685). Institutio Theologiae Elencticae [Institutes of Elenctic Theology] . Retrieved 3 Mar 2023 . XIV. Although certain ordinations of the apostles (which referred to the rites and circumstances of divine worship) were variable and instituted only for a time (as the sanction concerning the not eating of blood and of things strangled [Acts 15:20]; concerning the woman's head being covered and the man's being uncovered when they prophesy [1 Cor. 11:4, 5]) because there was a special cause and reason for them and (this ceasing) the institution itself ought to cease also... ^ (#cite_ref-168) Muller, Richard A. (/wiki/Richard_A._Muller) (2003). Post-Reformation Reformed Dogmatics : The Rise and Development of reformed orthodoxy, ca. 1520 to ca. 1725 . Vol. 2: Holy Scripture. Grand Rapids: Baker Academic. pp. 489–90. 4. The "circumstances" and general context of the text. Here Whitaker comes to what must be considered the fundamental literal and grammatical procedure of Protestant exegesis: the right understanding of the actual use of a word in a particular text comes front consideration of'-'the occasion, scope, preceding and following context, and the other circumstances of [the] passage"... Examination of occasion and context also led the annotators of the Geneva Bible to recognize that the Pauline statement, "Everie man praying or prophecying having any thing on his head, dishonoreth his head" (1 Cor. 11:4) as reflecting a customary rather than an apodictic standard... Nor was the importance of the historical context of these verses forgotten in the seventeenth century: Poole comments on the problem of covering the head in prayer and prophesy indicated by 1 Cor. 11:4... Poole also notes the variety of customs in his own rime and indicates that, even in the case of the following verses concerning the covering of a woman's head, that the Pauline text so reflects a historical situation that it cannot provide a rule for contemporary practice. ^ (#cite_ref-169) The Bible. Translated according to the Hebrew and Greeke, and conferred with the best translations in diuers languages . London: Robert Barker. 1606. p. 514 [1108]. This tradition was observed according to the time and place that all things might be done in comelines and edification. ^ (#cite_ref-Mooney2020_170-0) Mooney, Myron (18 May 2020). "Book Review – Head Covering: A Forgotten Christian Practice for Modern Times" (http://fpcurrent.com/head-covering) . Current . Free Presbyterian Church of North America. ^ (#cite_ref-Yin2018_171-0) Yin, Simon (2018). "Church Evangelism: Heritage Reformed Congregation, Grand Rapids, Michigan" (https://cdn.heritagereformed.com/wp-content/uploads/2019/06/11180438/2018-04-Glad-Tidings.pdf) (PDF) . Heritage Reformed Congregations (/wiki/Heritage_Reformed_Congregations) . p. 6 . Retrieved 13 June 2022 . ^ (#cite_ref-172) "Visiting for the First Time?" (https://www.nrcsf.com/visiting-for-the-first-time) . Netherlands Reformed Church Of Sioux Falls . Retrieved 13 June 2022 . ^ (#cite_ref-173) Wesley, John (1987). Wesley's Notes on the Bible . Christian Classics Ethereal Library. p. 570. ISBN (/wiki/ISBN_(identifier)) 9781610252577 . Therefore if a woman is not covered — If she will throw off the badge of subjection, let her appear with her hair cut like a man's. But if it be shameful far a woman to appear thus in public, especially in a religious assembly, let her, for the same reason, keep on her veil. ^ (#cite_ref-Dunlap1994_174-0) Dunlap, David (1 November 1994). "Headcovering-A Historical Perspective" (http://www.uplook.org/1994/11/headcovering-a-historical-perspective/) . Uplook Ministries . Retrieved 24 June 2019 . Although women were allowed to preach in the Methodist ministry, the veil covering a woman's head was required as a sign of her headship to Christ. Concerning the theological significance of the veil, Wesley wrote, "For a man indeed ought not to veil his head because he is the image and glory of God in the dominion he bears over the creation, representing the supreme dominion of God, which is his glory. But the woman is a matter of glory to the man, who has a becoming dominion over her. Therefore she ought not to appear except with her head veiled as a tacit acknowledgement of it." ^ Jump up to: a b c Brown, A. Philip (2011). A Survey of the History of the Interpretation of 1 Corinthians 11:2-16 . Aldersgate Forum. p. 12. ^ (#cite_ref-Sellew1903_176-0) Sellew, Walter Ashbel (14 April 1903). Hogue, Wilson T. (ed.). Woman in the Public Service . Chicago (/wiki/Chicago) : Free Methodist Church (/wiki/Free_Methodist_Church) . pp. 232–233. ^ (#cite_ref-CHC1986_177-0) The Manual of the Calvary Holiness Church . Calvary Holiness Church (/wiki/Calvary_Holiness_Church_(Philadelphia)) . 1986. p. 12. ^ (#cite_ref-178) "Stewardess and Deaconess" (https://www.fcame.org/stewardess-and-deaconess.html) . First Community A.M.E. Church. 15 March 2022 . Retrieved 9 March 2024 . ^ (#cite_ref-179) Hunt, Beverly W. Deaconess Handbook: Walking in the Power of Purpose . African Methodist Episcopal Zion Church (/wiki/African_Methodist_Episcopal_Zion_Church) . ^ Jump up to: a b c d e Manual of Faith and Practice of Central Yearly Meeting of Friends . Central Yearly Meeting of Friends. 2018. p. 110-111. ^ (#cite_ref-PBCC2022_181-0) "Why do Brethren ladies wear head scarves?" (https://www.plymouthbrethrenchristianchurch.org/who-we-are/faqs/#why-do-brethren-ladies-wear-head-scarves?) . Plymouth Brethren Christian Church (/wiki/Plymouth_Brethren_Christian_Church) . Retrieved 9 April 2022 . Scripture enjoins that every woman praying with uncovered head causes herself shame and for this reason Brethren women wear head scarves whilst attending church services. It is common for Brethren ladies to wear a ribbon or headband when out amongst the general public. ^ (#cite_ref-Pestana2004_182-0) Pestana, Carla Gardina (18 March 2004). Quakers and Baptists in Colonial Massachusetts . Cambridge University Press. p. 2. ISBN (/wiki/ISBN_(identifier)) 978-0-521-52504-6 . The concern for church purity that underlay both of these views also led Williams to advocate the veiling of women at worship service, which he believed was a practice of the primitive churches. ^ (#cite_ref-KayDyer2011_183-0) Kay, William; Dyer, Anne (20 September 2011). European Pentecostalism . Brill Academic Publishers (/wiki/Brill_Publishers) . p. 393. ISBN (/wiki/ISBN_(identifier)) 978-90-04-21636-5 . Their attitudes were essentially sectarian and exclusive and, though they attempted to interact with wider aspects of popular culture (especially in their choice of music hall tunes and their crusade avertising), they were largely isolated from other Christian streams until the 1960s. ... In the 1960s they were forced to re-think their orientation. ... With little debate Pentecostals revised their practices and quietly dropped the cultural demands of their holiness codes. Young women could wear trousers, jewellry was acceptable, head coverings stopped being obligatory and cinema attendance was no longer sinful. In short, Pentecostals moved from a sectarian orientation towards a denominational orientation and therey followed a classic sociological trajectory. By the end of the century we might say that the most successful Pentecostals had absorbed elements of popular culture and sacralised it. ^ (#cite_ref-Brereton2002_184-0) Bendroth, Margaret Lamberts; Brereton, Virginia Lieson (2002). Women and Twentieth-century Protestantism . University of Illinois Press. p. 29. ISBN (/wiki/ISBN_(identifier)) 978-0-252-06998-7 . ^ (#cite_ref-185) "Headcoverings" (http://www.visitupc.org/headcoverings) . Ukrainian Pentecostal Church . Retrieved 9 April 2022 . 1 Corinthians 11 We interpret 1 Corinthians 11 quite literally. "4 Every man praying or prophesying, having his head covered, dishonors his head. 5 But every woman who prays or prophesies with her head uncovered dishonors her head, for that is one and the same as if her head were shaved." Why don't you interpret hair as being the covering? We do not interpret hair as being the covering because if hair is the covering the Bible is referring to then that must mean that men are not allowed to have hair or he dishonors his head. If a distinction is made between long hair as being the covering (in contrast to short hair) then in that case this piece of scripture must mean that women must have long hair as their covering. What is the purpose of headcovering? Some believe that the headcovering is an extension of other modesty guidelines found in the Bible. We believe that wearing the headcovering is about more than just modesty for women. Women are to cover their heads for angel's sake (1 Corinthians 11:10). "Through head coverings our women show all present that their position as a woman is also redeemed. No longer are they at war usurping and longing for the man's position of authority (Gen 3:16). Instead they're content in the role God ordained for them in Genesis 2." ^ (#cite_ref-Luke2016_186-0) Luke, Shelton (2016). "Statement of Apostolic Policy" (https://apostolic-faith.org/) . The Church of the Lord Jesus Christ of the Apostolic Faith. You are cordially invited to The Church of the Lord Jesus Christ of the Apostolic Faith regardless of race, creed, color or place of national origin. We ask however, that you abide by our Apostolic rules and the women have head covering and not wear pants. ^ Jump up to: a b Kercheville, Brent (11 January 2006). "The Head Covering (1 Corinthians 11:1-16)" (https://westpalmbeachchurchofchrist.com/topical/diff_quest/head_covering.html) . West Palm Beach Church of Christ . Retrieved 7 April 2022 . Prophecy was only by the power of God, and was only done through spiritual gifts. And this prophecy is tied to prayer. So it seems that Paul is talking about the spiritual gifts of prayer and prophecy. We know that women were praying and prophesying and had the power of spiritual gifts. See the four virgin daughters who prophesied in Acts 21:9. ... It would be shameful for a woman to take upon herself such power as the gift of prophecy and not cover her head to show that she has authority from God for this action. The order of creation is to be remembered and where the authority is needs to be remembered. Verse 10 makes this statement clear because it is the explanation of verses 6-9, when it says "for this reason women ought to have authority on their head." Women were to have this sign of authority for what they were doing, otherwise they would be bringing shame upon the Lord for being uncovered. It is important to notice a few things in verse 10. First of all, the word there for "authority," means authority. Many commentators including conservative ones have tried to make this mean a symbol of subjection. Literally the text reads "For this reason the woman ought to have authority on her head because of angels." So we cannot state that the covering is a symbol of subjection. We cannot treat the covering as a symbol of subjection. It is a symbol of God's authority for a woman to pray and prophesy with the spiritual gifts she has been given in public. ^ (#cite_ref-188) "Back to the Old Paths" (https://gadsda.com/volume-1-symbolic-code-no-15/) . The Davidian Seventh-day Adventists Association. 15 September 1935 . Retrieved 10 April 2024 . ^ (#cite_ref-Dube2019_189-0) Dube, Lindoll (11 July 2019). " (http://www.shepherds-rod-speaks.org/2019/07/head-covering/) "Head Covering", Is it necessary for Religious gatherings?" (http://www.shepherds-rod-speaks.org/2019/07/head-covering/) . Shepherd's Rod (/wiki/Shepherd%27s_Rod) . Retrieved 10 April 2024 . Therefore, the covering of her hair also denotes humbling before God or, as it were, laying aside her glory...it certainly is essential when teaching or worshipping whether it be at home or in church. ^ (#cite_ref-Head_Coverings_—_When_and_Why?_190-0) "Head Coverings — When and Why?" (http://wol.jw.org/en/wol/d/r1/lp-e/1102008084) . Keep Yourselves in God's Love . Watch Tower. 2008. pp. 209–12. ^ (#cite_ref-191) "Questions From Readers", The Watchtower , July 15, 2002, page 27. ^ Jump up to: a b c Stein, Stephen J. (1 January 1992). The Shaker Experience in America: A History of the United Society of Believers . Yale University Press. p. 160. ISBN (/wiki/ISBN_(identifier)) 978-0-300-05139-1 . ^ (#cite_ref-Babudro1997_193-0) Babudro, Angelo (1997). "On Account of the Angels: Why I Cover My Head" (http://orthodoxinfo.com/praxis/headcoverings.aspx) . Orthodox Christian Information Center . Retrieved 9 May 2021 . ^ (#cite_ref-Dillon_194-0) Dillon, Paul (1903). "An Out of the Way Land". The Irish Ecclesiastical Record . Browne and Nolan. p. 370. Near Alessio, further south, the women wear dresses all finged and tasselled; and their sisters in central Albania have white veils and high head-dresses. ^ (#cite_ref-Jacques2009_195-0) Jacques, Edwin E. (30 January 2009). The Albanians: An Ethnic History from Prehistoric Times to the Present . McFarland (/wiki/McFarland_%26_Company) . p. 221. ISBN (/wiki/ISBN_(identifier)) 978-0-7864-4238-6 . Poujade (1867, 194) noted that Christian women used white veils. Long after independence from Turkey, elderly Orthodox women in Elbasan could be seen on the street wearing white veils, although usually their eyes were visible. ^ (#cite_ref-Basenkov2017_196-0) Basenkov, Vladimir (10 June 2017). "Vladimir Basenkov. Getting To Know the Old Believers: How We Pray" (https://orthochristian.com/104149.html#_ftnref3) . Orthodox Christianity . Retrieved 25 July 2020 . ^ (#cite_ref-Troy2013_197-0) Troy, Allison (11 May 2013). "Orthodox Christian Women Vs. Muslim Women" (https://pravoslavie.ru/61432.html) . Pravoslavie . Retrieved 11 February 2024 . ^ Jump up to: a b c Sir Ernest Alfred Wallis Budge (1902). The Nile: Notes for Travellers in Egypt . T. Cook & Son, (Egypt). p. 207. ^ Jump up to: a b El Guindi, Fadwa; Zahur, Sherifa (2009). Hijab . The Oxford Encyclopedia of the Islamic World. doi (/wiki/Doi_(identifier)) : 10.1093/acref/9780195305135.001.0001 (https://doi.org/10.1093%2Facref%2F9780195305135.001.0001) . ISBN (/wiki/ISBN_(identifier)) 9780195305135 . ^ (#cite_ref-200) "Proper Attire in Church" (http://www.scooch.org/proper-attire-in-church/) . Standing Conference of Oriental Orthodox Churches. January 30, 2014. ^ (#cite_ref-BC_201-0) "About Believers Church: Practical Distinctives" (https://web.archive.org/web/20180719104915/https://www.gfa.org/believerschurch/about/) . Gospel for Asia (/wiki/Gospel_for_Asia) . Archived from the original (http://www.gfa.org/believerschurch/about/) on 19 July 2018 . Retrieved 31 July 2016 . In our church services, you will see that the women wear head coverings as is mentioned in 1 Corinthians 11:2–16. In the same way, we adhere to the practice of baptism as commanded in Matthew 28:19, and Holy Communion, which is given to us in 1 Corinthians 11:23–26. These are all part of the traditions of faith of Believers Church. ^ (#cite_ref-202) Genesis 24:65 (https://bible.oremus.org/?passage=Genesis%2024:65&version=nrsv) ^ (#cite_ref-203) Numbers 5:18 (https://bible.oremus.org/?passage=Numbers%205:18&version=nrsv) ^ (#cite_ref-204) Song of Songs 5:7 (https://bible.oremus.org/?passage=Song%20of%20Solomon%205:7&version=nrsv) ^ (#cite_ref-205) Susanna 13:31–33 (https://bible.oremus.org/?passage=Susanna%201:31–33&version=nrsvae) ^ (#cite_ref-206) Isaiah 47:2 (https://bible.oremus.org/?passage=Isaiah%2047:2&version=nrsv) ^ (#cite_ref-207) Anderson, Cory A. (2013). The Ornament of a Spirit: Exploring the Reasons Covering Styles Change . Stoneboro (/wiki/Stoneboro,_Pennsylvania) : Ridgeway Publishing. p. 13. ...the Bible, as well as "nature," demonstrates that a head covering must be worn out of modesty. This is recognized by cultures all over the world today, as well as Jewish texts from ancient Israel: "The watchmen that went about the city found me, they smote me, they wounded me; the keepers of the walls took away my veil from me" (Song of Solomon 5:7). The watchmen added insult to injury, forcibly unveiling the woman. Women were to have a proper shame of being unveiled in the company of others. ^ (#cite_ref-208) Song of Songs 4:1 (https://bible.oremus.org/?passage=Song%20of%20Solomon%204:1&version=nrsv) ^ (#cite_ref-209) 1 Corinthians 11:2–16 (https://bible.oremus.org/?passage=1%20Corinthians%2011:2–16&version=nrsv) ^ (#cite_ref-2014Safran_210-0) Safran, Linda (21 March 2014). The Medieval Salento: Art and Identity in Southern Italy . University of Pennsylvania Press. p. 112. ISBN (/wiki/ISBN_(identifier)) 9780812245547 . Many Christian women also covered their hair, as enjoined by Saint Paul (1 Cor. 11:5) and as suggested by numerous medieval representations. ^ (#cite_ref-211) "Paradosis – New Testament Lexicon" (http://www.biblestudytools.com/lexicons/greek/nas/paradosis.html) . Paradosis – New Testament Lexicon – New American Standard . Retrieved 31 July 2016 . ^ (#cite_ref-212) "1 Corinthians 11:2 – KJV" (http://www.biblestudytools.com/kjv/1-corinthians/11-2.html) . 1 Corinthians 11:2 – KJV . Retrieved 31 July 2016 . ^ (#cite_ref-Zerbe2018_213-0) Zerbe, Gordon (10 July 2018). Reclaiming the Old Testament: Essays in Honour of Waldemar Janzen . Wipf and Stock Publishers. p. 56. ISBN (/wiki/ISBN_(identifier)) 978-1-5326-5821-1 . ^ (#cite_ref-Witherington_214-0) Witherington III, Ben (1995). Conflict and Community in Corinth: A Socio-Rhetorical Commentary on 1 and 2 Corinthians . Eerdmans. p. 236. Paul's view is that the creation order should be properly manifested, not obliterated, in Christian worship, especially because even angels, as guardians of the creation order, are present, observing such worship and perhaps even participating in it. ^ (#cite_ref-Damrosch1996_215-0) Damrosch, Leopold (1996). The Sorrows of the Quaker Jesus: James Nayler and the Puritan Crackdown on the Free Spirit . Harvard University Press (/wiki/Harvard_University_Press) . p. 123. ISBN (/wiki/ISBN_(identifier)) 978-0-674-82143-9 . ^ (#cite_ref-Yarborough2022_216-0) Yarborough, Kaitlyn (20 May 2022). "How To Know When It's Rude To Wear Your Hat Indoors, According to Etiquette" (https://www.southernliving.com/culture/etiquette/can-you-wear-a-hat-inside) . Southern Living (/wiki/Southern_Living) . Retrieved 1 February 2023 . Hat etiquette also has roots in Christianity, as it's long been considered customary for men to remove their hats upon entering a church. As we all know, however, church hats are a historic tradition for women to wear in the South. ^ (#cite_ref-217) Neusner, Jacob; Armistead, M. Kathryn (1 September 2010). Introduction to World Religions: Communities and Cultures . Abingdon Press. ISBN (/wiki/ISBN_(identifier)) 978-1-4267-1976-9 . In most forms of Christianity, however, men remove their hats as a sign of deference to the deity. The bareheadedness derives from the comments of the Apostle Paul in 1 Corinthians 11:4 that "a man who keeps his head covered when he prays or prophesies brings shame upon his head" (NEB). ... Higher Roman Catholic clerics wear a skullcap, customarily called a zucchetto , as a sign of office — but they remove it at various points during the Mass as a gesture of respect to God. ^ (#cite_ref-Gould_218-0) Gould, Ezra Palmer (1887). Commentary on the Epistles To the Corinthians . American Baptist Publication Society. p. 94. ^ Jump up to: a b McGarvey, John William; Pendleton, Philip Yancy (1916). Thessalonians, Corinthians, Galatians and Romans . The Standard Publishing Company. p. 112. ^ Jump up to: a b c Garland, David E. (1 November 2003). 1 Corinthians (Baker Exegetical Commentary on the New Testament) . Baker Academic (/wiki/Baker_Academic) . ISBN (/wiki/ISBN_(identifier)) 978-1-58558-322-5 . ^ (#cite_ref-221) 1 Corinthians 11:2–10 (https://www.biblegateway.com/passage/?search=1+Corinthians+11:2–10&version=rsv) ^ (#cite_ref-222) The Catholic Study Bible . Oxford University Press (/wiki/Oxford_University_Press) . 15 April 2016. ISBN (/wiki/ISBN_(identifier)) 978-0-19-026726-1 . ^ (#cite_ref-Farrell_223-0) Farrell, Heather (2014). Walking with the Women of the New Testament . Cedar Fort Publishing. ISBN (/wiki/ISBN_(identifier)) 978-1-4621-0872-5 . ... that the word translated in verses 5 and 13 as "uncovered" is akatakaluptos and means "unveiled" and the word translated in verse 6 as "covered" is katakalupto which means to "cover wholly, [or] veil." The word power in verse 10 may have also been mistranslated because the fact that in Aramaic the roots of the word power and veil are spelled the same. ^ (#cite_ref-Kwasniewski2019_224-0) Peter Kwasniewski (/wiki/Peter_Kwasniewski) (13 November 2019). "The Theology Behind Women Wearing Veils in Church" (https://onepeterfive.com/theology-women-veils/#_edn1) . OnePeterFive. ^ Jump up to: a b Donald Spence Jones (/wiki/Donald_Spence_Jones) (1899). Pulpit Commentary (/wiki/Pulpit_Commentary) . Funk & Wagnalls Company. p. 362. ^ Jump up to: a b Tuck, Robert (1891). A Handbook of Scientific and Literary Bible Difficulties . Thomas Whittaker. p. 559. ^ (#cite_ref-227) Williams, Frank, ed. (2009). The Panarion of Epiphanius of Salamis: Book I (Sects 1-46) . Brill Academic Publishers (/wiki/Brill_Academic_Publishers) . p. 196. ISBN (/wiki/ISBN_(identifier)) 978-90-04-17017-9 . ^ (#cite_ref-228) 1 Thessalonians 5 (https://www.biblegateway.com/passage/?search=1+Thessalonians+5&version=nasb) ^ (#cite_ref-TheBrethrenEncyclopedia1983_229-0) The Brethren Encyclopedia . Brethren Encyclopedia, Incorporated. 1983. p. 1062. ^ (#cite_ref-Young1999_230-0) Young, Serinity (1999). Encyclopedia of Women and World Religion: A-K . Macmillan Reference USA. ISBN (/wiki/ISBN_(identifier)) 978-0-02-864859-0 . Christianity , beginning with the New Testament (in passages such as Corinthians 11: 2–16 or 1 Timothy 2:8– 15) preserves the admonition for women to assume modest attire and to cover their heads. ^ (#cite_ref-231) Esther 6:12 (https://en.wikisource.org/wiki/Bible_(King_James)/Esther#6:12) ^ (#cite_ref-Elliott2005_232-0) Elliott, Neil (1 February 2005). Liberating Paul: The Justice of God and the Politics of the Apostle . Fortress Press. p. 210. ISBN (/wiki/ISBN_(identifier)) 978-1-4514-1511-7 . If we look instead to the order of Paul's argument, we observe that he wants the Corinthians to know, first of all, that "the head of every man is Christ" (11:3); and that the practical consequence of this teaching is, first of all, that "any man who prays or prophesies with his head covered dishonors his head," that is, Christ (11:4). That gesture on the part of a pious man was common enough, indeed ubiquitous, in Roman religion. Pulling his toga up over his head (in Latin praying capite velato ; in Greek, perhaps, kata kephalēs echōn ) was "the iconographic mark of a sacrificant presiding over a specifically Roman ritual," whether the emperor, a Roman priest, or a layman (Richard Gordon). This, several scholars have recently argued, is the most plausible context for the practices addressed by Paul in 1 Cor. 11:4. This suggestion, which reverses the more conventional reading of the passage as restricting women's behavior, also arrives at a clearer logic. Paul discusses accepted cultural norms concerning hair (11:13-15) and women's head adornment in public (11:5-6), not because he wants to impose his own cultural standards (Jewish? Greek? Roman?) or the Corinthian women, but in order to establish a principle he regards as basically uncontroversial: that customs of head adornment bring honor or dishonor to one's social "head." ^ Jump up to: a b c Gandhi, Rajesh (24 August 2011). "Haman, Head Coverings, and First Corinthians 11:1-16" (https://apeopleforhisname.org/2011/08/haman-head-coverings-and-first-corinthians-111-16/) . A People for His Name . Retrieved 7 April 2022 . Esther 6 records the dramatic reversal that resulted in Haman's humiliation. Hearing the king speak of one whom he desired to honor, he thought that surely the king intended to honor him (6:6). To his great chagrin, he learned that the king ordained that Haman himself was to honor Mordecai, whom he greatly despised (6:10). After he had fulfilled the king's directives to honor Mordecai publicly (6:11), "Haman hasted to his house mourning, and having his head covered" (6:12). Plainly, this text is not declaring that he went to his home having hair on his head. Nor is it asserting either that he had long hair on his head as he went home or that he somehow miraculously grew his hair long. Rather, this verse records that because he had been humiliated, he headed home, draping an external covering over his head. Furthermore, the LXX rendering of the verse reads as follows: BGT Esther 6:12 ¶ ἐπέστρεψεν δὲ ὁ Μαρδοχαῖος εἰς τὴν αὐλήν Αμαν δὲ ὑπέστρεψεν εἰς τὰ ἴδια λυπούμενος κατὰ κεφαλῆς LXE Esther 6:12 And Mardochaeus returned to the palace: but Aman went home mourning, and having his head covered. ... The exact phrase κατὰ κεφαλῆς found here occurs in only one other passage in the Bible in Greek: BGT 1 Corinthians 11:4 πᾶς ἀνὴρ προσευχόμενος ἢ προφητεύων κατὰ κεφαλῆς ἔχων καταισχύνει τὴν κεφαλὴν αὐτοῦ. SCR 1 Corinthians 11:4 πᾶς ἀνὴρ προσευχόμενος ἢ προφητεύων, κατὰ κεφαλῆς ἔχων καταισχύνει τὴν κεφαλὴν αὐτοῦ. KJV 1 Corinthians 11:4 Every man praying or prophesying, having his head covered, dishonoureth his head. ... Moreover, Hatch and Redpath (κατακαλύπτειν, 733) report that another hand of the Septuagint for Esther 6:12 reads, κατακεκαλυμμένος κεφαλήν. This variant reading has the perfect passive participle of the key verb used in 1 Corinthians 11:6 and 7 for both a man's and a woman's covering his or her head (κατακαλύπτω): BGT 1 Corinthians 11:6 εἰ γὰρ οὐ κατακαλύπτεται γυνή, καὶ κειράσθω• εἰ δὲ αἰσχρὸν γυναικὶ τὸ κείρασθαι ἢ ξυρᾶσθαι, κατακαλυπτέσθω . SCR 1 Corinthians 11:6 εἰ γὰρ οὐ κατακαλύπτεται γυνή, καὶ κειράσθω• εἰ δὲ αἰσχρὸν γυναικὶ τὸ κείρασθαι ἢ ξυρᾶσθαι, κατακαλυπτέσθω . KJV 1 Corinthians 11:6 For if the woman be not covered, let her also be shorn: but if it be a shame for a woman to be shorn or shaven, let her be covered. NAU 1 Corinthians 11:6 For if a woman does not cover her head, let her also have her hair cut off; but if it is disgraceful for a woman to have her hair cut off or her head shaved, let her cover her head. BGT 1 Corinthians 11:7 Ἀνὴρ μὲν γὰρ οὐκ ὀφείλει κατακαλύπτεσθαι τὴν κεφαλὴν εἰκὼν καὶ δόξα θεοῦ ὑπάρχων• ἡ γυνὴ δὲ δόξα ἀνδρός ἐστιν. SCR 1 Corinthians 11:7 ἀνὴρ μὲν γὰρ οὐκ ὀφείλει κατακαλύπτεσθαι τὴν κεφαλήν , εἰκὼν καὶ δόξα Θεοῦ ὑπάρχων• γυνὴ δὲ δόξα ἀνδρός ἐστιν. KJV 1 Corinthians 11:7 For a man indeed ought not to cover his head, forasmuch as he is the image and glory of God: but the woman is the glory of the man. ... This evidence from the LXX therefore supports holding that the covering in view in 1 Corinthians 11:1-16 is an external head covering for both a man and a woman. ^ Jump up to: a b Hutson, Christopher R. (29 July 2013). 1 Corinthians: A Community Not of This Age . ACU Press (/wiki/ACU_Press) . ISBN (/wiki/ISBN_(identifier)) 978-0-89112-984-4 . ^ Jump up to: a b Barnes, Allen; Barnes, Patti (1995). Christian Apparel . TEACH Services. p. 50. ISBN (/wiki/ISBN_(identifier)) 978-1-57258-029-9 . The argument is also raised that the hair is sufficient for the covering. Paul says in verse 15 that " her hair is given her for a covering. " Let us not suppose, however, that with a single sentence Paul is canceling out everything he has so clearly stated prior to it. The Greek word for covering in verse 15 is peribolaion , not katakalupto as used before for the veiling. In other words the hair is a type of covering, but the veiling used in the previous verses is to wholly cover the head and hair. ^ Jump up to: a b Abel, Ron (11 October 2014). "Question: Is her hair the covering?" (http://www.antipas.org/books/covered/lhbc_p4.html) . Antiaps . Retrieved 2 April 2022 . ^ (#cite_ref-Mounce2006_237-0) Mounce, William D. (2006). Interlinear for the Rest of Us: The Reverse Interlinear for New Testament Word Studies . Zondervan. p. 875. ISBN (/wiki/ISBN_(identifier)) 978-0-310-26303-6 . ^ (#cite_ref-Schreiner1991_238-0) Schreiner, Thomas R. (1991). Grudem, Wayne; Piper, John (eds.). 1 Corinthians 11:2-16: Head Coverings, Prophecies, and the Trinity . Crossway. pp. 124–139, 485–487. ^ (#cite_ref-239) 1 Corinthians 11:16 (https://bible.oremus.org/?passage=1%20Corinthians%2011:16&version=nrsv) ^ Jump up to: a b c Anderson, Cory A. (2013). The Ornament of a Spirit: Exploring the Reasons Covering Styles Change . Stoneboro (/wiki/Stoneboro,_Pennsylvania) : Ridgeway Publishing. p. vii. Few New Testament teachings are as clearly taught and yet flatly refused by modern Western Christians as the woman's headcovering. ^ (#cite_ref-241) 1 Corinthians 11:3 (https://www.biblegateway.com/passage/?search=1+Corinthians+11:3&version=nasb) ^ (#cite_ref-242) 1 Corinthians 11:7 (https://www.biblegateway.com/passage/?search=1+Corinthians+11:7&version=nasb) ^ (#cite_ref-243) Genesis 2:18 (https://www.biblegateway.com/passage/?search=Genesis+2:18&version=nasb) ^ (#cite_ref-244) 1 Corinthians 11:10 (https://www.biblegateway.com/passage/?search=1+Corinthians+11:10&version=nasb) ^ (#cite_ref-245) Tobit 12:12–15 (https://bible.oremus.org/?passage=Tobit%2012:12–15&version=nrsvae) ^ (#cite_ref-246) Revelation 8:2–4 (https://bible.oremus.org/?passage=Revelation%208:2–4&version=nrsv) ^ (#cite_ref-247) Marlowe, Michael (2005). "What does 'because of the angels' mean in 1 Corinthians 11:10?" (http://www.bible-researcher.com/angels.html) . Bible Researcher . Retrieved 28 April 2022 . ^ (#cite_ref-248) Ephesians 3:10 (https://bible.oremus.org/?passage=Ephesians%203:10&version=nrsv) ^ (#cite_ref-249) 1 Peter 1:12 (https://bible.oremus.org/?passage=1%20Peter%201:12&version=nrsv) ^ (#cite_ref-250) 1 Timothy 5:21 (https://bible.oremus.org/?passage=1%20Timothy%205:21&version=nrsv) ^ (#cite_ref-251) Isaiah 6:2 (https://bible.oremus.org/?passage=Isaiah%206:2&version=nrsv) ^ (#cite_ref-252) Jude 1:6 (https://bible.oremus.org/?passage=Jude%201:6&version=nrsv) ^ (#cite_ref-253) "Head coverings "because of the angels" (https://web.archive.org/web/20211015230731/http://unamsanctamcatholicam.com/theology/81-theology/71-head-coverings-qbecause-of-the-angelsq.html) " (https://web.archive.org/web/20211015230731/http://unamsanctamcatholicam.com/theology/81-theology/71-head-coverings-qbecause-of-the-angelsq.html) . Unam Sanctam Catholicam. Archived from the original (http://www.unamsanctamcatholicam.com/theology/81-theology/71-head-coverings-qbecause-of-the-angelsq.html) on 15 October 2021 . Retrieved 23 May 2022 . ^ (#cite_ref-254) 1 Corinthians 11:13–15 (https://www.biblegateway.com/passage/?search=1+Corinthians+11:13–15&version=nasb) ^ (#cite_ref-255) "Popes, Saints and Devout Souls: on Modesty and Purity - Part II" (https://saintsworks.net/Modesty%20and%20Purity%20-%20Quotations%20Pertaining%20to%20Modesty%20and%20Purity%20-%20II.html) . Saints' Works . Retrieved 23 May 2022 . ^ (#cite_ref-WalvoordZuck2018_256-0) John Walvoord (/wiki/John_Walvoord) ; Roy B. Zuck (/wiki/Roy_B._Zuck) (1 March 2018). The Bible Knowledge Commentary: Acts and Epistles . David C. Cook (/wiki/David_C._Cook) . ISBN (/wiki/ISBN_(identifier)) 978-0-8307-7287-2 . ^ (#cite_ref-257) 1 Corinthians 11:16 (https://www.biblegateway.com/passage/?search=1+Corinthians+11:16&version=nasb) ^ (#cite_ref-Stenson2010_258-0) Stenson, Esther (6 April 2010). "Veiled and free" (https://anabaptistworld.org/veiled-free/) . Anabaptist World . Retrieved 24 May 2022 . I grew up, like most Amish Mennonites, believing the wearing of a veiling a nonnegotiable command in Scripture (1 Corinthians 11) that is somehow disconnected from cultural context. Since the Bible teaches the practice, women should do it — no questions permitted. Church authorities interpreted women's wearing of a veiling as a requirement for coming into God's presence in prayer and a sign of acceptance of God's order of creation (in terms of gender). Additionally, the idea that women were to have a symbol of authority on our heads "because of the angels" (v. 10) meant that if we wanted their protection, we'd better be veiled. ^ (#cite_ref-259) MacDonald, William (1995). Believer's Bible Commentary . Nashville, TN: Thomas Nelson Publishers. p. 1786. ISBN (/wiki/ISBN_(identifier)) 9780840719720 . Paul teaches the subordination of the woman to man by going back to creation. This should forever lay to rest any idea that his teaching about women's covering was what was culturally suitable to his day but not applicable to us today. ^ (#cite_ref-260) 1 Corinthians 11:14–15 (https://bible.oremus.org/?passage=1%20Corinthians%2011:14–15&version=nrsv) ^ Jump up to: a b Keddie, John W. (22 January 2019). The Church: Its Nature, Ordinances and Offices . Lulu.com. pp. 227–229. ISBN (/wiki/ISBN_(identifier)) 978-1-326-83069-4 . ^ (#cite_ref-Beetham2021_262-0) Beetham, Christopher A., ed. (14 December 2021). The Concise New International Dictionary of New Testament Theology and Exegesis . Zondervan Academic. ISBN (/wiki/ISBN_(identifier)) 978-0-310-59848-0 . κατακαλύπτω G2877 (katakalyptō), to cover up, veil; ἀκατακάλυπτος G184 (akatakalyptos), uncovered ^ Jump up to: a b Stempel, Jonathan (30 August 2016). "Christian woman told to remove headscarf for licence - ACLU lawsuit" (https://www.reuters.com/article/idUSKCN1152PN/) . Reuters. ^ (#cite_ref-264) Chandler, Kim (30 August 2016). "ACLU: Christian woman forced to remove headscarf for license" (https://apnews.com/general-news-9f8b1916e9d947f39133a6dfd9c5d5ca) . AP News . Retrieved 27 March 2024 . ^ (#cite_ref-265) Allen, Bob (31 August 2016). "Christian woman ordered to remove scarf for driver's license photo files lawsuit" (https://baptistnews.com/article/christian-woman-ordered-to-remove-scarf-for-drivers-license-photo-files-lawsuit/) . Baptist News Global (/wiki/Baptist_News_Global) . Retrieved 9 March 2024 . ^ (#cite_ref-266) "Allen v. English, et al" (https://www.aclualabama.org/en/cases/allen-v-english-et-al) . American Civil Liberties Union (/wiki/American_Civil_Liberties_Union) . 16 May 2017 . Retrieved 27 March 2024 . Further reading [ edit ] Anderson, Cory A. (2013). The Ornament of a Spirit: Exploring the Reasons Covering Styles Change . Stoneboro (/wiki/Stoneboro,_Pennsylvania) : Ridgeway Publishing. Bercot, David (1992). Common Sense: A New Approach to Understanding Scripture . Amberson (/wiki/Amberson,_Pennsylvania) : Scroll Publishing Co. ISBN (/wiki/ISBN_(identifier)) 9780924722066 . Bercot, David (2012). What the Early Christians Believed About the Head Covering . Amberson (/wiki/Amberson,_Pennsylvania) : Scroll Publishing Co. Fee, Gordon D. (/wiki/Gordon_Fee) (1987). "Women (and Men) in Worship" (https://archive.org/details/firstepistletoco0000feeg/page/491) . The First Epistle to the Corinthians . New International Commentary on the New Testament (/wiki/New_International_Commentary_on_the_New_Testament) . Grand Rapids: Eerdmans. pp. 491–530. ISBN (/wiki/ISBN_(identifier)) 978-0-8028-2507-0 . Fitzmyer, Joseph A. (2009). "Another Look at KeΦaΛh in 1 Corinthians 11.3". New Testament Studies . 35 (4): 503–11. doi (/wiki/Doi_(identifier)) : 10.1017/S0028688500015174 (https://doi.org/10.1017%2FS0028688500015174) . S2CID (/wiki/S2CID_(identifier)) 170157328 (https://api.semanticscholar.org/CorpusID:170157328) . Gardiner, Jeremy (2016). Head Covering: A Forgotten Christian Practice For Modern Times . Head Covering Movement. ISBN (/wiki/ISBN_(identifier)) 978-1939770226 . Gill, David W. J. (1990). "The Importance of Roman Portraiture for Head-Coverings in 1 Corinthians 11:2–16" (https://www.tyndalehouse.com/tynbul/library/TynBull_1990_41_2_05_Gill_HeadCoverings1Cor11.pdf) (PDF) . Tyndale Bulletin . 41 (2): 245–60. doi (/wiki/Doi_(identifier)) : 10.53751/001c.30525 (https://doi.org/10.53751%2F001c.30525) . S2CID (/wiki/S2CID_(identifier)) 163516649 (https://api.semanticscholar.org/CorpusID:163516649) . Goodacre, Mark (/wiki/Mark_Goodacre) (2011). "Does περιβόλαιоν Mean 'Testicle' in 1 Corinthians 11:15?" (http://markgoodacre.org/peribolaionJBL.pdf) (PDF) . Journal of Biblical Literature . 130 (2): 391–6. doi (/wiki/Doi_(identifier)) : 10.2307/41304207 (https://doi.org/10.2307%2F41304207) . hdl (/wiki/Hdl_(identifier)) : 10161/7976 (https://hdl.handle.net/10161%2F7976) . JSTOR (/wiki/JSTOR_(identifier)) 41304207 (https://www.jstor.org/stable/41304207) . S2CID (/wiki/S2CID_(identifier)) 161401641 (https://api.semanticscholar.org/CorpusID:161401641) . Goodman III, Donald P. (2005). Because of the Angels: A Study of the Veil in the Christian Tradition . Tradition in Action. Henderson, Warren (2013). Glories Seen & Unseen: A Study of the Head Covering . Head Covering Movement. ISBN (/wiki/ISBN_(identifier)) 978-0995203600 . Hooker, M. D. (/wiki/Morna_Hooker) (1964). "Authority on her Head: An Examination of I Cor. xi. 10". New Testament Studies . 10 (3): 410–6. doi (/wiki/Doi_(identifier)) : 10.1017/S0028688500024334 (https://doi.org/10.1017%2FS0028688500024334) . S2CID (/wiki/S2CID_(identifier)) 170209244 (https://api.semanticscholar.org/CorpusID:170209244) . Kauffman, Daniel (1898). Manual of Bible Doctrines . Elkhart (/wiki/Elkhart,_Indiana) : Mennonite Publishing Co. pp. 160–168. Keener, Craig S. (/wiki/Craig_S._Keener) (1992). "Head Coverings in 1 Corinthians 11:1–16" (https://archive.org/details/paulwomenwivesma0000keen/page/19/mode/1up) . Paul, Women & Wives: Marriage and Women's Ministry in the Letters of Paul . Peabody, MA: Hendrickson. pp. 19–69. ISBN (/wiki/ISBN_(identifier)) 978-0-943575-96-4 . Martin, Troy W. (2004). "Paul's Argument from Nature for the Veil in 1 Corinthians 11:13–15: A Testicle Instead of a Head Covering" (http://paul.mcnabbs.org/religion/JBL-paul.pdf) (PDF) . Journal of Biblical Literature . 123 (1): 75–84. doi (/wiki/Doi_(identifier)) : 10.2307/3268550 (https://doi.org/10.2307%2F3268550) . JSTOR (/wiki/JSTOR_(identifier)) 3268550 (https://www.jstor.org/stable/3268550) . Massey, Preston T. (2011). "Long Hair as a Glory and as a Covering: Removing an Ambiguity from 1 Cor 11:15". Novum Testamentum . 53 : 52–72. doi (/wiki/Doi_(identifier)) : 10.1163/004810010X12590258025980 (https://doi.org/10.1163%2F004810010X12590258025980) . Massey, Preston T. (2007). "The Meaning of κατακαλυπτω and κατα κεφαλης εχων in 1 Corinthians 11.2–16". New Testament Studies . 53 (4): 502–23. doi (/wiki/Doi_(identifier)) : 10.1017/S0028688507000252 (https://doi.org/10.1017%2FS0028688507000252) . S2CID (/wiki/S2CID_(identifier)) 170747446 (https://api.semanticscholar.org/CorpusID:170747446) . Morris, Leon (/wiki/Leon_Morris) (1985). "The Veiling of Women" (https://books.google.com/books?id=bkCxMQdoCZIC&pg=PA148) . The First epistle of Paul to the Corinthians . Grand Rapids: Eerdmans. pp. 148–55 (https://archive.org/details/firstepistleofpa0000morr/page/148) . ISBN (/wiki/ISBN_(identifier)) 978-0-8028-0064-0 . Murphy-O'Connor, Jerome (1976). "The Non-Pauline Character of 1 Corinthians 11:2-16?" (https://web.archive.org/web/20190218211939/http://pdfs.semanticscholar.org/10f7/a8e56d993e3d162d2ffd8e842b13824b90c2.pdf) (PDF) . Journal of Biblical Literature . 95 (4): 615–21. doi (/wiki/Doi_(identifier)) : 10.2307/3265576 (https://doi.org/10.2307%2F3265576) . JSTOR (/wiki/JSTOR_(identifier)) 3265576 (https://www.jstor.org/stable/3265576) . S2CID (/wiki/S2CID_(identifier)) 29871665 (https://api.semanticscholar.org/CorpusID:29871665) . Archived from the original (http://pdfs.semanticscholar.org/10f7/a8e56d993e3d162d2ffd8e842b13824b90c2.pdf) (PDF) on 2019-02-18. Oster, Richard (2009). "When Men Wore Veils to Worship: The Historical Context of 1 Corinthians 11.4". New Testament Studies . 34 (4): 481–505. doi (/wiki/Doi_(identifier)) : 10.1017/S0028688500021093 (https://doi.org/10.1017%2FS0028688500021093) . S2CID (/wiki/S2CID_(identifier)) 170445159 (https://api.semanticscholar.org/CorpusID:170445159) . Powers, Janet E. (2001). "Recovering a Woman's Head with Prophetic Authority: A Pentecostal Interpretation of 1 Corinthians 11.3–16". Journal of Pentecostal Theology (/wiki/Journal_of_Pentecostal_Theology) . 10 : 11–37. doi (/wiki/Doi_(identifier)) : 10.1177/096673690101000102 (https://doi.org/10.1177%2F096673690101000102) . Ruth, Merle (2022). The Significance of the Christian Woman's Veiling . Harrisonburg (/wiki/Harrisonburg,_Virginia) : Christian Light Publications. Sanseri, Gary (1999). Covered or Uncovered? How 1 Corinthians 11:2–16 applies to worship and leadership in the church . Back Home Industries. ISBN (/wiki/ISBN_(identifier)) 978-1880045206 . Scroggs, Robin (1972). "Paul and the Eschatological Woman". Journal of the American Academy of Religion (3): 283–303. doi (/wiki/Doi_(identifier)) : 10.1093/jaarel/XL.3.283 (https://doi.org/10.1093%2Fjaarel%2FXL.3.283) . Shoemaker, Thomas R (1987). "Unveiling of Equality: 1 Corinthians 11:2–16". Biblical Theology Bulletin . 17 (2): 60–3. doi (/wiki/Doi_(identifier)) : 10.1177/014610798701700204 (https://doi.org/10.1177%2F014610798701700204) . S2CID (/wiki/S2CID_(identifier)) 144246354 (https://api.semanticscholar.org/CorpusID:144246354) . Walker, WM. O. (1975). "1 Corinthians 11:2–16 and Paul's Views regarding Women". Journal of Biblical Literature . 94 (1): 94–110. doi (/wiki/Doi_(identifier)) : 10.2307/3266038 (https://doi.org/10.2307%2F3266038) . JSTOR (/wiki/JSTOR_(identifier)) 3266038 (https://www.jstor.org/stable/3266038) . External links [ edit ] Head Covering Through the Centuries - Scroll Publishing (https://www.scrollpublishing.com/cgi-bin/sc/ss_mb.cgi?storeid=*10aa1248a706bb410f4e&ss_parm=A77aaa57a18d80656ecf59bdf4d091c26) What the Early Christians Believed About The Head Covering - Scroll Publishing (https://www.youtube.com/watch?v=oflUWLFXyfI) The Head Covering Movement | 1 Corinthians 11 For Today (http://www.headcoveringmovement.com) The Head Coverings of 1 Corinthians 11 (2005) – Rev. Paul K. Williams (https://storage.googleapis.com/biblemirror.appspot.com/downloads/headcoverings/head-coverings-book.pdf) The Headcovering: Cultural or Counter-Cultural - Dr. Finny Kuruvilla (https://www.headcoveringmovement.com/biblical-sermons/finny-kuruvilla-lectures-on-head-coverings) Haman, Head Coverings, and First Corinthians 11:1-16 - Dr. Rajesh Gandhi (https://apeopleforhisname.org/2011/08/haman-head-coverings-and-first-corinthians-111-16/) Headcoverings in Scripture: What Does Church History Teach? by Greg Price (https://www.biblebeliever.co.za/Brethren%20Assemblys/Headcoverings%20in%20Scripture%20-%20What%20Does%20Church%20History%20Teach.html) Headcovering, 1 Corinthians 11, and Orthodoxy - Craig Truglia (https://www.youtube.com/watch?v=MXLKAbGLBJE) "…Let Her Be Veiled.": An in-depth study of 1 Corinthians 11:1-16 by Tom Shank - Torch Publications (http://www.ephrataministries.org/book-veiled.a5w) Church history and the covering by Anna Grace Wood (https://feminasolagratia.com/are-head-coverings-biblical/) The Scriptural Headveiling by Harold S. Martin (1978) - Anabaptist Doctrine (https://biblehelpsinc.org/publication/the-scriptural-headveiling/) The Woman’s Headcovering by Michael Marlowe (2008) - Bible Research (http://www.bible-researcher.com/headcoverings.html) v t e Hats (/wiki/Hat) and caps (/wiki/Cap) List of hat styles (/wiki/List_of_hat_styles) Western (/wiki/Western_culture) culture (/wiki/Western_culture) Formal (/wiki/Formal_wear) Cartwheel (/wiki/Cartwheel_hat) Cloche (/wiki/Cloche_hat) Cocktail (/wiki/Cocktail_hat) Doll (/wiki/Doll_hat) Draped turban (/wiki/Draped_turban) Eugénie (/wiki/Eug%C3%A9nie_hat) Fascinator (/wiki/Fascinator) Half (/wiki/Half_hat) Halo (/wiki/Halo_hat) Juliet (/wiki/Juliet_cap) Mushroom (/wiki/Mushroom_hat) Lampshade (/wiki/Lampshade_hat) Picture (/wiki/Picture_hat) Peach (/wiki/Peach_basket_hat) Pillbox (/wiki/Pillbox_hat) Tam (/wiki/Tam_cap) Top (/wiki/Top_hat) Opera (/wiki/Opera_hat) Semi-formal (/wiki/Semi-formal_wear) Homburg (/wiki/Homburg_hat) Anthony Eden (/wiki/Anthony_Eden_hat) 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For the genus of spiders, see Testudinaria (/wiki/Testudinaria) . Ñandutí Ñandutí: The flower in the spider's web from Asunción Paraguay Type Lace (/wiki/Lace) Material Cotton (/wiki/Cotton) or silk (/wiki/Silk) Production method Needle lace (/wiki/Needle_lace) Production process Handicraft (/wiki/Handicraft) Place of origin Paraguay Ñandutí Mujer paraguaya ñanduti Ñandutí detalle Ñandutí is a traditional Paraguayan (/wiki/Paraguayan) lace (/wiki/Lace) . The name means "spider web" in Guaraní (/wiki/Guaran%C3%AD_language) , [1] (#cite_note-1) the official, indigenous language of Paraguay. The lace is worked on fabric which is stretched tightly in a frame. The pattern is drawn on the fabric and the threads, which go to-and-fro across the circular motif and are either taken through running stitches worked along the pattern lines or stitched directly through the fabric. When finished, the motifs are released by either cutting the running stitches or cutting away the backing fabric. While single motifs can be worked like this, it is more usual to work the whole item as one piece - the pattern for the complete mat or collar is drawn on the fabric and the wheels are linked together as the radial threads are laid down. [2] (#cite_note-guild-2) Technique [ edit ] Ñandutí is woven with a needle and threads of cotton or silk. Its most notable characteristic is a matrix of squares, rectangles, or circles, usually about 2 inches across, with a radiating warp. To make ñandutí a quadrangular frame of adequate size is needed according to the piece being made. The four sides of the frame are tied to each other at the corners with twine. On this frame a piece of fabric will be stretched, also with twine, to support the needlework. The lacemaker recognizes three stages in the making of ñandutí, each identified by the object she uses: a pencil, a needle, and a pair of scissors. With the pencil she traces a design previously drawn on a piece of paper, which she puts under the fabric that is stretched on the frame. The needle stage begins when the lacemaker starts building the warp (armaje) of the first disc. Following the outline of the circle, a stitch is made at the top and one at the bottom exactly on the diameter, working clockwise. From 120 to 150 rays per disc are thus stretched. From that moment on, no other stitches will be attached on the fabric. Once the warp has been laid out, the lacemaker will make two rounds of darning stitches around the center of the disc to firmly fasten the threads of the rays that have been superimposed on each other. The center thus formed is called the “apyte”. If the lacemaker intends to make only one large flower or a star motif within a disc, she will form the petals or points of the star starting from that center. If she is going to use any other motif, she will divide the warp laid out in three more or less equal parts, using an approximate calculation rather than an exact measurement. At the end of the first third part of the disc she will make one, two, or a maximum of three concentric circles. This process is known as “filleting”, since it is made with a stitch called “fillet”. It is the knot stitch, and is used for tying together two threads of the warp. It is on this radiated, filleted warp, that is, on the second-third of the disc, that she will lace the decorative motifs that she calls “dechados”, distributing them as she pleases. For this process she will only use two stitches: the darning stitch (tejido) or woven stitch, and fillet or knot stitch. Once a motif is completed, the lacemaker will again make one or two concentric circles at the edge of the disc, so as to give it a neat, reinforced finish. Once she finished ornamenting the first disc, the rest of them is made in the same way. This completes the needle stage. The lacemaker then turns the frame around so that the back of the work is facing upward, and the scissors stage begins. With a pair of scissors she cuts the fabric between the stitches made in it to support the rays of each disc, except at the edge of the piece. Using the tip of the scissors and following the outline of each circle, she will remove or draw out the small pieces of fabric that were left holding on to the stitches of the rays. Sanjurjo, Annick (2015), Ñandutí, Lace of Paraguay , ISBN (/wiki/ISBN_(identifier)) 9780963382719 References [ edit ] ^ (#cite_ref-1) Cannon, Mary M. (1946). "Women Workers in Paraguay" (https://books.google.com/books?id=sJ6bekALdhgC&dq=%C3%91andut%C3%AD&pg=PA8) . US Department of Labor (210). ^ (#cite_ref-guild_2-0) The Lace Guild. "Tenerife and Nanduti Lace" (https://web.archive.org/web/20141018230026/http://www.laceguild.org/craft/tenerife.html) . Archived from the original (http://www.laceguild.org/craft/tenerife.html) on 18 October 2014 . Retrieved 28 November 2014 . Bibliography [ edit ] Ñandutí by Gustavo González. Artes Gráficas Zamphirópolos, Asunción. 1967. Ñandutí: The flower in the spider's web. Annick Sanjurjo. Published by Organization of American States. January 1, 1978. ASIN (/wiki/ASIN) : B00072UZOC. Ñandutí, Lace of Paraguay , by Annick Sanjurjo, Southern Cross Press, ISBN (/wiki/ISBN_(identifier)) 978-0-9633827-1-9 (/wiki/Special:BookSources/978-0-9633827-1-9) Ñandutí, Encaje del Paraguay , by Annick Sanjurjo, Southern Cross Press, ISBN (/wiki/ISBN_(identifier)) 978-0-9633827-3-3 (/wiki/Special:BookSources/978-0-9633827-3-3) v t e Lace (/wiki/Lace) types Needle lace (/wiki/Needle_lace) Filet lace (/wiki/Filet_lace) Punto in Aria (/wiki/Punto_in_Aria) Point de Venise (/wiki/Point_de_Venise) Point de France (/wiki/Point_de_France) Alençon (/wiki/Alen%C3%A7on_lace) Aemilia Ars (/w/index.php?title=Aemilia_Ars&action=edit&redlink=1) Argentan (/wiki/Argentan_lace) Argentella (/wiki/Argentella) Armenian (/wiki/Armenian_needlelace) Burano (https://it.wikipedia.org/wiki/Merletto%20di%20Burano) Halas lace (/wiki/Halas_lace) Hedebo embroidery (/wiki/Hedebo_embroidery) Hollie Point (/wiki/Hollie_Point) Nallıhan (/wiki/Nall%C4%B1han_silk_needlelace) Point de Gaze (/wiki/Point_de_Gaze) Kenmare Lace (/wiki/Kenmare_lace) Ñandutí Oya (/wiki/Oya_(lace)) Pag (/wiki/Pag_lace) Puncetto Valsesiano (/w/index.php?title=Puncetto_Valsesiano&action=edit&redlink=1) Tenerife (/wiki/Tenerife_lace) Youghal (/wiki/Youghal_lace) Embroidery (/wiki/Embroidery) Buratto (/wiki/Buratto) Filet lace (/wiki/Filet_lace) Reticella (/wiki/Reticella) Limerick (/wiki/Limerick_lace) Needlerun net (/wiki/Needlerun_net) Tambour (/wiki/Tambour_lace) Cutwork (/wiki/Cutwork) Broderie anglaise (/wiki/Broderie_anglaise) Carrickmacross (/wiki/Carrickmacross_lace) Lefkara lace (/wiki/Lefkara_lace) Saba lace (/wiki/Saba_lace) Bobbin lace (/wiki/Bobbin_lace) Mesh grounds (/wiki/Mesh_grounded_bobbin_lace) Torchon (/wiki/Torchon_lace) Freehand (/wiki/Freehand_lace) Arras (/wiki/Arras_lace) Bayeux (/wiki/Bayeux_lace) Beeralu (/w/index.php?title=Beeralu&action=edit&redlink=1) Blonde (/wiki/Blonde_lace) Bucks point (/wiki/Bucks_point_lace) Chantilly (/wiki/Chantilly_lace) Chefoo (/w/index.php?title=Chefoo_lace&action=edit&redlink=1) Cogne (/wiki/Cogne_lace) Tønder (/wiki/T%C3%B8nder_lace) Beveren (/wiki/Beveren_lace) Lille (/wiki/Lille_lace) Binche (/wiki/Binche_lace) Flanders (/wiki/Flanders_lace) Paris (/wiki/Paris_lace) Valenciennes (/wiki/Valenciennes_lace) Antwerp (/wiki/Antwerp_lace) Mechlin (/wiki/Mechlin_lace) Ipswich (/wiki/Ipswich_lace) 's Gravenmoer (/w/index.php?title=%27s_Gravenmoer_lace&action=edit&redlink=1) Mundillo (/wiki/Mundillo) Guipure (/wiki/Guipure) Greek (/wiki/Greek_lace) Genoese (/wiki/Genoese_lace) Bedfordshire (/wiki/Bedfordshire_lace) Cluny (/wiki/Cluny_lace) Dentelle du Puy (https://fr.wikipedia.org/wiki/Dentelle_du_Puy) Liptov (/wiki/Liptov) Maltese (/wiki/Maltese_lace) Yak lace (/wiki/Yak_lace) Part laces (/wiki/Part_lace) Honiton (/wiki/Honiton_lace) Bruges (/wiki/Bruges_lace) Brussels (/wiki/Brussels_lace) Rosaline (/wiki/Rosaline_lace) Point d'Angleterre (/wiki/Brussels_lace#Point_d'Angleterre) Tape (/wiki/Bobbin_tape_lace) Cantù (/w/index.php?title=Cant%C3%B9_lace&action=edit&redlink=1) Milanese (/wiki/Milanese_bobbin_lace) Hinojosa (/w/index.php?title=Hinojosa_lace&action=edit&redlink=1) Russian (/wiki/Russian_lace) Idrija (/wiki/Idrija_lace) Schneeberg (/wiki/Schneeberg_lace) Peasant (/w/index.php?title=Peasant_lace&action=edit&redlink=1) Tape lace (/wiki/Tape_lace) Mezzopunto (/w/index.php?title=Mezzopunto&action=edit&redlink=1) Princess (/wiki/Princess_lace) Renaissance (/wiki/Renaissance_lace) Battenberg (/wiki/Battenberg_lace) Romanian point (/wiki/Romanian_point_lace) Branscombe (/wiki/Branscombe_lace) Crocheted lace (/wiki/Crocheted_lace) Broomstick lace (/wiki/Broomstick_lace) Irish crochet (/wiki/Irish_lace) Hairpin (/wiki/Hairpin_lace) Filet crochet (/wiki/Filet_crochet) Orvieto lace (/w/index.php?title=Orvieto_lace&action=edit&redlink=1) Machine (/wiki/Lace_machine) -made lace Bobbinet (/wiki/Bobbinet) Leavers (/wiki/Leavers_machine) Pusher (/wiki/Pusher_machine) Barmen (/wiki/Barmen_lace_machine) Curtain Machine (/wiki/Nottingham_lace_curtain_machine) Chemical (/wiki/Chemical_lace) Raschel (/wiki/Warp_knitting) Stocking Frame (/wiki/Stocking_frame) Warp Knit (/wiki/Warp_knitting) Other handmade laces Metal laces (/wiki/Metal_lace) Lace knitting (/wiki/Lace_knitting) Macramé (/wiki/Macram%C3%A9) Tatting (/wiki/Tatting) Punto a groppo (/wiki/Punto_a_groppo) Sprang (/wiki/Sprang) Liturgical lace (/wiki/Liturgical_lace) Media related to Lace (https://commons.wikimedia.org/wiki/Category:Lace) at Wikimedia Commons Fashion portal (/wiki/Portal:Fashion) Clothing portal (/wiki/Portal:Clothing) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐kq6cx Cached time: 20240719051419 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1] CPU time usage: 0.294 seconds Real time usage: 0.635 seconds Preprocessor visited node count: 964/1000000 Post‐expand include size: 36760/2097152 bytes Template argument size: 569/2097152 bytes 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Non-conformist, ungrounded lifestyle Main article: Bohemianism (/wiki/Bohemianism) This article needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Bohemian_style) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed. Find sources: "Bohemian style" (https://www.google.com/search?as_eq=wikipedia&q=%22Bohemian+style%22) – news (https://www.google.com/search?tbm=nws&q=%22Bohemian+style%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Bohemian+style%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Bohemian+style%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Bohemian+style%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Bohemian+style%22&acc=on&wc=on) ( September 2023 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Young Bohémienne: Natalie Clifford Barney (/wiki/Natalie_Clifford_Barney) (1875–1972) at the age of 10 (painting by Carolus-Duran (/wiki/Carolus-Duran) ) The Bohemian style , often termed 'Boho chic', is a fashion and lifestyle choice characterized by its unconventional and free-spirited essence. While its precise origins are debated, Bohemian style is believed to have been influenced by the nomadic lifestyle of the Romani people (/wiki/Romani_people) during the late 19th century to the early 20th century. The term 'Bohemian' itself derives from the French 'Bohémien,' originally associated with the Roma community due to a historical misconception that they originated from Bohemia (/wiki/Bohemia) , a region in the Czech Republic (/wiki/Czech_Republic) . [1] (#cite_note-Howarth-1) Throughout history, Bohemian fashion has undergone significant transformations, reflecting the cultural shifts and influences of each era. Today, contemporary Bohemian fashion embraces flowing fabrics (/wiki/Textile) , vibrant colors, and natural, woven (/wiki/Woven_fabric) materials instead of knits (/wiki/Knitting) . This style draws inspiration from various sources, including the counterculture movements (/wiki/Counterculture_of_the_1960s) of the 1960s and 1970s, reminiscent of the attire worn by attendees of the inaugural Woodstock music festival (/wiki/Woodstock) . [1] (#cite_note-Howarth-1) The Bohemian style has achieved global popularity, appealing to individuals seeking a unique and individualistic (/wiki/Individualistic_culture) approach to fashion and lifestyle. It encourages a sense of freedom and self-expression, often attracting those who prefer to live unconventionally, sometimes in a nomadic (/wiki/Nomad) manner, and who may reside in colonies or communes, fostering a strong sense of community. Early 19th century and the role of women [ edit ] The Bohemian subculture has been closely affiliated with predominantly male artists and intellectuals. The female counterparts have been closely connected with the Grisettes (/wiki/Grisette_(person)) , young women who combined part-time prostitution with various other occupations. In the first quarter of the 19th century, the term " grisette " also referred to independent young women. They often worked as seamstresses or milliner's assistants and frequented Bohemian (/wiki/Bohemianism) artistic and cultural venues in Paris. Many grisettes worked as artist models, often providing sexual favors to the artists in addition to posing for them. During the time of King Louis-Philippe (/wiki/Louis-Philippe_of_France) , they came to dominate the Bohemian modeling scene. Due to the role and influence they had on 19th century French art, the grisette became a frequent character in French fiction. However, the grisettes have been mentioned as early as in 1730 by Jonathan Swift (/wiki/Jonathan_Swift) . The term "grisette" in poetry (/wiki/Grisette_(person)) signified qualities of both flirtatiousness and intellectual aspiration. George du Maurier (/wiki/George_du_Maurier) based large parts of Trilby (/wiki/Trilby_(novel)) on his experiences as a student in Parisian Bohemia during the 1850s. Poe's 1842 story was based on the unsolved murder of Mary Cecilia Rogers (/wiki/Mary_Rogers) near New York City, subtitled "A Sequel to ' The Murders in the Rue Morgue (/wiki/The_Murders_in_the_Rue_Morgue) ' ". It was the first fictional detective story to attempt to provide a real solution to a real crime. The most enduring grisette is Mimi in Henri Murger (/wiki/Henri_Murger) 's novel (and subsequent play) Scènes de la vie de Bohème (/wiki/Sc%C3%A8nes_de_la_vie_de_Boh%C3%A8me) , the source for Puccini (/wiki/Puccini) 's famous opera La bohème (/wiki/La_boh%C3%A8me) . Pre-Raphaelites [ edit ] Jane Morris (/wiki/Jane_Morris) painted by Dante Gabriel Rossetti (/wiki/Dante_Gabriel_Rossetti) as Proserpine (/wiki/Proserpine_(Rossetti_painting)) (1874) In 1848 William Makepeace Thackeray (/wiki/William_Makepeace_Thackeray) used the word Bohemianism in his novel Vanity Fair (/wiki/Vanity_Fair_(novel)) . In 1862, the Westminster Review described a Bohemian as "simply an artist or littérateur who, consciously or unconsciously, secedes from conventionality in life and in art". During the 1860s the term was associated in particular with the Pre-Raphaelite (/wiki/Pre-Raphaelite) movement, the group of artists and aesthetes of which Dante Gabriel Rossetti (/wiki/Dante_Gabriel_Rossetti) was the most prominent: [2] (#cite_note-2) As the 1860s progressed, Rossetti would become the grand prince of Bohemianism as his deviations from normal standards became more audacious. He then became this epitome of the unconventional, his egocentric demands necessarily required his close friends to remodel their own lives around him. His Bohemianism was like a web in which others became trapped – none more so than William (/wiki/William_Morris) and Jane Morris (/wiki/Jane_Morris) . [3] (#cite_note-3) Jane Morris, Edward Burne-Jones, and Pre-Raphaelite traits [ edit ] Jane Morris (/wiki/Jane_Morris) , who was to become Rossetti's muse, epitomized, probably more than any of the women associated with the pre-Raphaelites, an unrestricted, flowing style of dress that, while unconventional at the time, would be highly influential at certain periods during the 20th century. [4] (#cite_note-4) She and others, including the much less outlandish Georgiana Burne-Jones (/wiki/Georgiana_Burne-Jones) (wife of Edward Burne-Jones (/wiki/Edward_Burne-Jones) , [5] (#cite_note-5) one of the later pre-Raphaelites), eschewed the corsets (/wiki/Corsets) and crinolines (/wiki/Crinoline) of the mid-to-late Victorian era, [6] (#cite_note-6) a feature that impressed the American writer Henry James (/wiki/Henry_James) when he wrote to his sister in 1869 of the bohemian atmosphere of the Morrises' house in the Bloomsbury (/wiki/Bloomsbury) district of London and, in particular, the "dark silent medieval" presence of its chatelaine (/wiki/Ch%C3%A2telain) : It's hard to say whether she's a grand synthesis of all the pre-Raphaelite pictures ever made … whether she's an original or a copy. In either case, she's a wonder. Imagine a tall, lean woman in a long dress of some dead purple stuff, guiltless of hoops (/wiki/Hoop_skirts) (or of anything else I should say) with a mass of crisp black hair heaped into great wavy projections on each of her temples … a long neck, without any collar, and in lieu thereof some dozen strings of outlandish beads. [7] (#cite_note-7) Effie Gray (/wiki/Effie_Gray) by Thomas Richmond (/wiki/Thomas_Richmond) In his play Pygmalion (/wiki/Pygmalion_(play)) (1912) Bernard Shaw (/wiki/George_Bernard_Shaw) unmistakably based the part of Mrs. Higgins on the then elderly Jane Morris. He described Mrs. Higgins' drawing room, he referred to a portrait of her "when she defied the fashion of her youth in one of the beautiful Rossettian costumes which, when caricatured by people who did not understand, led to the absurdities of popular estheticism [sic] in the eighteen-seventies". [8] (#cite_note-8) A biographer of Edward Burne-Jones (/wiki/Edward_Burne-Jones) , writing a century after Shaw ( Fiona MacCarthy (/wiki/Fiona_MacCarthy) , 2011), has noted that, in 1964, when the influential Biba (/wiki/Biba) store was opened in London (/wiki/Swinging_London) by Barbara Hulanicki (/wiki/Barbara_Hulanicki) , the "long drooping structureless clothes", though sexier than the dresses portrayed in such Burne-Jones paintings as The Golden Stairs or The Sirens , nevertheless resembled them. [9] (#cite_note-9) The interior of Biba has been described by the biographer of British 20th century designer Laura Ashley (/wiki/Laura_Ashley) as having an atmosphere that "reeked of sex … [It] was designed to look like a bordello (/wiki/Bordello) with its scarlet, black and gold plush fitments, but, interestingly, it implied an old-fashioned, Edwardian (/wiki/Edwardian) style of forbidden sex with feathered boas (/wiki/Feather_boas) , potted palms, bentwood (/wiki/Bentwood) coat racks and dark lighting" [10] (#cite_note-autogenerated1990-10) MacCarthy observed also that "the androgynous appearance of Burne-Jones's male figures reflected the sexually ambivalent feeling" of the late 1960s. [11] (#cite_note-11) Early flower power: Effie Millais [ edit ] Effie Gray (/wiki/Effie_Gray) , whose marriage to John Ruskin (/wiki/John_Ruskin) was annulled (/wiki/Annulled) in 1854 before her marrying the pre-Raphaelite painter John Millais (/wiki/John_Millais) , is known to have used flowers as an adornment and probably also as an assertive "statement". While in Scotland with Ruskin (still her husband) and Millais, she gathered foxgloves (/wiki/Foxglove) to place in her hair. She wore them at breakfast, despite being asked by her husband not to do so, a gesture of defiance, at a time of growing crisis in their relationship, that came to the critical notice of Florence Nightingale (/wiki/Florence_Nightingale) [12] (#cite_note-12) (who tended to regard others of her sex with "scarcely concealed scorn" and was generally unsympathetic towards "women's rights" [13] (#cite_note-13) ). A few weeks earlier, on Midsummer Day (/wiki/Midsummer_Day) , Effie (possibly inspired by Shakespeare (/wiki/Shakespeare) 's A Midsummer Night's Dream (/wiki/A_Midsummer_Night%27s_Dream) ) was said by her hostess, Pauline Trevelyan (/wiki/Pauline,_Lady_Trevelyan) , to have "looked lovely" with stephanotis (/wiki/Stephanotis) in her hair at an evening party in Northumberland (/wiki/Northumberland) , [14] (#cite_note-14) while, the previous year, a male friend had brought a vase of flowers for her hair from Venice (/wiki/Venice) . [15] (#cite_note-Brownwell,_op.cit.-15) Ruskin's father was evidently shocked to learn that, when Effie herself was in Venice, she had removed her bonnet in public, ostensibly because of the heat. [15] (#cite_note-Brownwell,_op.cit.-15) In 1853 Millais painted Effie with Foxgloves in her Hair which depicts her wearing the flowers while doing needlework. Other paintings of the mid-to-late 19th century, such as Frederick Sandys (/wiki/Frederick_Sandys) ' Love's Shadow (1867) of a girl with a rose in her hair, sucking a sprig of blossom, which was described in 1970 as "a first rate PR (/wiki/Public_relations) job for the Flower People", [16] (#cite_note-16) and Burne-Jones' The Heart of the Rose (1889), [17] (#cite_note-17) have been cited as foreshadowing the " flower power (/wiki/Flower_power) " of the mid-to-late 1960s. Early 20th century and inter-war years [ edit ] Rational dress and the women's movement [ edit ] Franziska Countess zu Reventlow (/wiki/Fanny_zu_Reventlow) , undated photo, the "Bohemian Countess" of Schwabing (/wiki/Schwabing) By the turn of the 20th century, an increasing number of professional women, notably in the United States, were attempting to live outside the traditional parameters of society. Between 1870 and 1910, the marriage rate among educated women in the United States fell to 60% (30% lower than the national average). By 1893, in the state of Massachusetts alone, some 300,000 women were earning their own living in nearly 300 occupations. The invention of the typewriter in 1867 was a particular spur. For example, by the turn of the 20th century, 80% of stenographers (/wiki/Stenographers) were women. [18] (#cite_note-18) By this time, such movements as the Rational Dress Society (/wiki/Rational_Dress_Society) (1881), with which the Morrises and Georgiana Burne-Jones were involved, were beginning to exercise some influence on women's dress, although the pre-Raphaelite look was still considered "advanced" in the late years of the 19th century. [19] (#cite_note-19) Queen Victoria (/wiki/Queen_Victoria) 's precocious daughter Princess Louise (/wiki/Princess_Louise,_Duchess_of_Argyll) , an accomplished painter and artist who mixed in bohemian circles, was sympathetic to rational dress and to the developing women's movement generally (although her rumoured pregnancy at the age of 18 was said to have been disguised by tight corsetry). [20] (#cite_note-20) However, it was not really until the First World War (/wiki/First_World_War) that "many working women" embarked on a revolution in a fashion that greatly reduced the weight and restrictions imposed on them by their clothing". [21] (#cite_note-Pugh,_op._cit.-21) Some women working in factories wore trousers. The brassiere (/wiki/Brassiere) (invented in 1889 by the feminist (/wiki/Feminist_movement) Herminie Cadolle (/wiki/Herminie_Cadolle) [22] (#cite_note-22) and patented in America by Mary Phelps Jacob (/wiki/Mary_Phelps_Jacob) in 1914) began gradually to supersede the corset. [23] (#cite_note-23) In shipyards " trouser suits (/wiki/Trouser_suit) " (the term, "pantsuit" was adopted in America in the 1920s) were virtually essential to enable women to shin up and down ladders. [24] (#cite_note-24) Music hall (/wiki/Music_hall) artists also helped to push the boundaries of fashion; these included Vesta Tilley (/wiki/Vesta_Tilley) , whose daring adoption on the stage of a well-tailored male dress not only had an influence on men's attire but also foreshadowed to extent styles adopted by some women in the inter-war period. It was widely understood that Tilley sought additional authenticity by wearing male underclothing, although off stage, she was much more conventional in both her dress and general outlook. [25] (#cite_note-25) By the early 1920s, what had been a wartime expedient, the need to economise on material, had become a statement of freedom by young women. This was manifested by shorter hemlines (just above the knee by 1925–1926) [21] (#cite_note-Pugh,_op._cit.-21) and boyish hairstyles, accompanied by what Robert Graves (/wiki/Robert_Graves) and Alan Hodge (/wiki/Alan_Hodge) described as "the new fantastic development of Jazz (/wiki/Jazz) music". [26] (#cite_note-26) At the Antwerp Olympic Games (/wiki/1920_Olympics) in 1920, the French tennis (/wiki/Lawn_tennis) player Suzanne Lenglen (/wiki/Suzanne_Lenglen) attracted attention with a knee-length skirt that revealed her suspender belt (/wiki/Suspender_belt) whenever she leaped to smash a ball. From then on, sportswear for women, as with day-to-day clothes, became more free, [27] (#cite_note-27) although, after the Second World War (/wiki/Second_World_War) , when the American player Gussie Moran (/wiki/Gussie_Moran) appeared at the Wimbledon championships (/wiki/Wimbledon_championships) of 1949 in a short skirt that revealed lace-trimmed panties (/wiki/Panties) , the All England Lawn Tennis and Croquet Club (/wiki/All_England_Lawn_Tennis_and_Croquet_Club) accused her of bringing "vulgarity and sin into tennis" and shunned the outfit's designer Teddy Tinling (/wiki/Ted_Tinling) for many years. [28] (#cite_note-28) The impact of lingerie in the 1920s and 30s [ edit ] The Penguin Social History of Britain noted that "by the 1920s newspapers were filled with advertisements for 'lingerie' and 'undies' which would have been classed as indecent a generation earlier". [29] (#cite_note-John_Stevenson_1984-29) Thus, in Ben Travers (/wiki/Ben_Travers) ' comic novel Rookery Nook (/w/index.php?title=Rookery_Nook_(novel)&action=edit&redlink=1) (1923), a young woman evicted from home in her nightwear and requiring day clothes remarked, " Combies (/wiki/Union_suit) . That's all right. But in the summer you know, we don't", [30] (#cite_note-30) while in Agatha Christie (/wiki/Agatha_Christie) 's thriller, The Seven Dials Mystery (/wiki/The_Seven_Dials_Mystery) (1929), the aristocratic heroine, Lady "Bundle" Brent (/wiki/Bundle_Brent) , wore only "a negligible trifle" under her dress; like much real life " it girls (/wiki/It_girl) " of her class, she had been freed from the "genteel expectations" of earlier generations. [31] (#cite_note-31) In Hollywood (/wiki/Cinema_of_the_United_States) the actress Carole Lombard (/wiki/Carole_Lombard) , who, in the 1930s, combined feistiness with sexual allure, never wore a brassière and "avoided panties". [32] (#cite_note-32) However, she famously declared that though "I live by a man's code designed to fit a man's world, at the same time I never forget that a woman's first job is to choose the right shade of lipstick" [33] (#cite_note-33) Coincidentally, sales of men's undershirts (/wiki/Undershirts) fell dramatically in the United States when Lombard's future husband, Clark Gable (/wiki/Clark_Gable) , was revealed not to be wearing one in a famous motel bedroom scene with Claudette Colbert (/wiki/Claudette_Colbert) in the film It Happened One Night (/wiki/It_Happened_One_Night) (1934). According to Gable, "the idea was looking half-naked and scaring the brat into her own bed on the other side of the blanket [hanging from a clothesline to separate twin beds]". However, he "gave the impression that going without was a vital sign of a man's virility" [34] (#cite_note-34) More generally, the adoption by the American movie industry of the Hays Production Code (/wiki/Hays_code) in the early 1930s had a significant effect on how moral, and especially sexual, issues were depicted on film. This included a more conservative approach to matters of dress. Whereas the sort of scanty lingerie on show in some earlier productions (for example, Joan Blondell (/wiki/Joan_Blondell) and Barbara Stanwyck (/wiki/Barbara_Stanwyck) in Night Nurse (/wiki/Night_Nurse_(1931_film)) , 1931) [35] (#cite_note-35) had tended to reflect trends that, in the 1920s, defied convention and were regarded by many young women as liberating, by the early years of the Depression (/wiki/Great_Depression) such displays came to be regarded quite widely as undesirable. Developments in the late 1960s and 1970s, when the strictures of the code were abandoned, followed a similar pattern, although, by then, it was often women themselves who were in the vanguard of resistance to sexualized imagery. Looking back at this period, Graves and Hodge noted the protracted course that "daring female fashions had always taken from brothel to stage, then on to Bohemia, to Society, to Society's maids, to the mill-girl and lastly to the suburban woman". [36] (#cite_note-36) The "Dorelia" look [ edit ] Among female Bohemians in the early 20th century, the "gypsy look" was a recurring theme, popularized by, among others, Dorothy "Dorelia" McNeill (/wiki/Dorelia_McNeill) (1881–1969), muse (/wiki/Muse) , lover, and second wife of the painter Augustus John (/wiki/Augustus_John) (1878–1961), whose full skirts and bright colors gave rise to the so-called "Dorelia look". [37] (#cite_note-37) Katherine Everett (/wiki/Katherine_Everett) , née Olive, a former student of the Slade School of Art (/wiki/Slade_School_of_Art) in London, has described McNeil's "tight fitting, hand-sewn, canary colored bodice above a dark gathered flowing skirt, and her hair very black and gleaming, emphasizing the long silver earrings which were her only adornment". [38] (#cite_note-38) Everett recalled also the Johns' woods "with wild cherry trees in blossom, and a model with flying red hair, clad in white, being chased in and out of the trees by nude children". [39] (#cite_note-39) With similar lack of inhibition, as early as 1907 the American heiress Natalie Barney (/wiki/Natalie_Barney) (1875–1972) was leading like-minded women in sapphic (/wiki/Lesbianism) dances in her Parisian garden, [40] (#cite_note-40) photographs of which look little different from scenes at Woodstock (/wiki/Woodstock) in 1969 and other "pop" festivals of the late 1960s and early 1970s. Bobbed hair and cross-gender styles [ edit ] By contrast, short bobbed hair (/wiki/Bob_cut) was often a Bohemian trait, [29] (#cite_note-John_Stevenson_1984-29) having originated in Paris c. 1909 and been adopted by students at the Slade [41] (#cite_note-41) several years before American film actresses such as Colleen Moore (/wiki/Colleen_Moore) and Louise Brooks (/wiki/Louise_Brooks) ("the girl in the black helmet") became associated with it in the mid-1920s. This style was plainly discernible on a woodblock self-portrait of 1916 by Dora Carrington (/wiki/Dora_Carrington) , who had entered the Slade in 1910, [42] (#cite_note-42) and, indeed, the journalist and historian Sir Max Hastings (/wiki/Max_Hastings) has referred to "poling punts (/wiki/Punt_(boat)) occupied by reclining girls with bobbed hair" as an enduring, if misleading, the popular image of the "idyll before the storm" of the First World War. [43] (#cite_note-43) In F. Scott Fitzgerald (/wiki/F._Scott_Fitzgerald) 's short story, Bernice Bobs Her Hair (/wiki/Bernice_Bobs_Her_Hair) (1920), a young woman who wishes to become a 'society vamp (/wiki/Vampire) ' regards the adoption of a bob as a necessary prelude, [44] (#cite_note-44) while Louise Brooks' sexually charged performance as Lulu (/wiki/Earth_Spirit_(play)) in G. W. Pabst (/wiki/G._W._Pabst) 's film, Pandora's Box (/wiki/Pandora%27s_Box_(1929_film)) (1929), left an enduring image of the style, which has been replicated on screen over the years, most vividly by Cyd Charisse (/wiki/Cyd_Charisse) in Singin' in the Rain (/wiki/Singin%27_in_the_Rain_(film)) (1952), Isabelle de Funès as Valentina (/wiki/Valentina_(comic_book)) in Baba Yaga (/wiki/Baba_Yaga_(film)) (1973) [45] (#cite_note-45) and Melanie Griffith (/wiki/Melanie_Griffith) in Something Wild (/wiki/Something_Wild_(1986_film)) (1986). Bobbed hair was associated also with many popular singers and actresses in the 1960s and has frequently been evoked by writers and directors, as well as fashion designers, seeking to recapture the hedonistic (/wiki/Hedonism) or free spirit of the 1920s. For example, Kerry Greenwood (/wiki/Kerry_Greenwood) 's Cocaine Blues (/wiki/Cocaine_Blues_(novel)) (1989) and succeeding novels about Phryne Fisher (/wiki/Phryne_Fisher) , a glamorous, but unconventional aristocratic investigator in late twenties Melbourne (/wiki/Melbourne) , Australia, conveyed an image – "five feet two [157.5 centimeters] with eyes of green and black hair cut into a cap" [46] (#cite_note-46) – that was later cultivated stylishly on television by Essie Davis (/wiki/Essie_Davis) in ABC (/wiki/ABC_TV_(Australian_TV_channel)) 's Miss Fisher's Murder Mysteries (/wiki/Miss_Fisher%27s_Murder_Mysteries) (2012). [47] (#cite_note-47) Around 1926 an even shorter style, known as the ' Eton crop (/wiki/Eton_crop) ', became popular: [21] (#cite_note-Pugh,_op._cit.-21) on her arrival in Tilling (/wiki/Tilling_(Sussex)) (Rye) in E. F. Benson (/wiki/Edward_Frederic_Benson) 's comic novel Mapp and Lucia (/wiki/Mapp_and_Lucia) (1931), Lucia described "Quaint" Irene as "a girl with no hat and an Eton crop. She was dressed in a fisherman's jersey (/wiki/Jersey_(clothing)) and knickerbockers". For many years trite assumptions were often made about the sexuality of women with cropped hairstyles; a historian of the 1980s wrote of the Greenham Common (/wiki/Greenham_Common_Women%27s_Peace_Camp) "peace camp" in England that it "brought public awareness to feminist (/wiki/Feminist) separation and even to lesbianism, hitherto seen in the mass media – when acknowledged at all – either in terms of Eton-cropped androgyny (/wiki/Androgyny) or of pornographic fantasy". [48] (#cite_note-48) Even so, others have drawn a stark contrast between the bohemian demeanor of the Greenham women and the "bold make-up and power-dressing (/wiki/Power_dressing) " that tended to define women's fashion more generally in the 1980s [49] (#cite_note-49) (the so-called 'designer decade'). One social historian has observed that "the innocuous woolen jersey, now known [in Britain] as the jumper (/wiki/Sweater) or the pullover, was the first item of clothing to become interchangeable between men and women and, as such, was seen as a dangerous symptom of gender confusion". [21] (#cite_note-Pugh,_op._cit.-21) Trousers for women, sometimes worn mannishly as an expression of sexuality (as by Marlene Dietrich (/wiki/Marlene_Dietrich) as a cabaret singer in the 1930 film, Morocco (/wiki/Morocco_(1930_film)) , in which she dressed in a white tie suit and kissed a girl in the audience) [50] (#cite_note-50) also became popular in the 1920s and 1930s, as did aspects of what many years later would sometimes be referred to as " shabby chic (/wiki/Shabby_chic) ". [51] (#cite_note-51) Winston Churchill (/wiki/Winston_Churchill) 's niece Clarissa (/wiki/Clarissa_Eden) was among those who wore a tailored suit in the late 1930s. [52] (#cite_note-52) Post-Liberation Paris [ edit ] Café de Flore, Saint-Germain-des-Près, Paris: the haunt of post-war bohemians The 'New Look' [ edit ] After the Second World War (/wiki/Second_World_War) Christian Dior (/wiki/Christian_Dior) 's ' New Look (/wiki/Christian_Dior_S.A.#The_"New_Look") ', launched in Paris in 1947, though drawing on styles that had begun to emerge in 1938–1939, [53] (#cite_note-53) set the pattern for women's fashion generally until the 1960s. Harking back in some ways to the Belle Epoque (/wiki/Belle_Epoque) of the late 19th and early 20th centuries – and thus not a 'new' look as such – it was criticized by some as excessively feminine and, with its accompanying corsets and rustle of frilled petticoats (/wiki/Petticoat) , as setting back the "work of emancipation won through participation in two world wars". [54] (#cite_note-54) It also, for a while, bucked the trend towards boyish fashion that, after the First World War (/wiki/First_World_War) , tended to follow major conflicts. [55] (#cite_note-55) Rive Gauche [ edit ] American influences had been discouraged during the Nazi occupation of France (/wiki/Nazi_occupation_of_France) , but, notably in the form of be-bop (/wiki/Be-bop) and other types of jazz, were strong among intellectual café society (/wiki/Caf%C3%A9_society) in the mid-to-late 1940s. [56] (#cite_note-56) In 1947, Samedi-Soir lifted the lid on what it called the " troglodytes (/wiki/Caveman) of Saint-Germain", [57] (#cite_note-57) namely bohemians of the Parisian Left Bank (/wiki/Rive_Gauche) ( Rive Gauche ) district of Saint-Germain-des-Prés (/wiki/Saint-Germain-des-Pr%C3%A9s) , who appeared to cluster around existentialist (/wiki/Existentialist) philosopher Jean-Paul Sartre (/wiki/Jean-Paul_Sartre) . These included Roger Vadim (/wiki/Roger_Vadim) (who married and launched the career of actress Brigitte Bardot (/wiki/Brigitte_Bardot) in the 1950s), novelist Boris Vian (/wiki/Boris_Vian) (since described as "the epitome of Left Bank Bohemia, standing at the center of its postwar rehabilitation") [58] (#cite_note-58) and singer Juliette Gréco (/wiki/Juliette_Gr%C3%A9co) . Juliette Gréco in 1963 Juliette Gréco [ edit ] At the liberation of Paris (/wiki/Liberation_of_Paris) in 1944, the American journalist Ernie Pyle (/wiki/Ernie_Pyle) observed that the women were all "brightly dressed in white or red blouses and colorful peasant skirts, with flowers in their hair and big flashy earrings." [59] (#cite_note-59) while Lady Diana Cooper (/wiki/Lady_Diana_Cooper) , whose husband, Duff Cooper (/wiki/Duff_Cooper) , became British Ambassador to Paris that year, wrote that, during the occupation, Parisienne women had worn "grotesquely large hats hung with flowers and fruits and feathers and ribbons" as well as high carved wooden shoes. [60] (#cite_note-60) However, in contrast to such striking bohemian adornments and subsequently the "New Look" (which itself scandalised some Parisennes), the clothes of the post-war bohemians were predominantly black: when Gréco first performed outside Saint-Germain she affronted some of her audience by wearing "black trousers, her bare feet slipped into golden sandals". [61] (#cite_note-61) In old age she claimed that this style of dress arose from poverty: When I was a teenager in Paris, I only had one dress and one pair of shoes, so the boys in the house started dressing me in their old black coats and trousers. A fashion was shaped out of misery. When people copied me, I found it a little ridiculous, but I didn't mind. It made me smile. [62] (#cite_note-62) Performing in London over fifty years later, Gréco was described as "still oozing bohemian style". [63] (#cite_note-63) Saint-Germain in retrospect [ edit ] Capturing the spirit of the time, David Profumo (/wiki/David_Profumo) has written of how his mother, the actress Valerie Hobson (/wiki/Valerie_Hobson) , was entranced by Roger Vadim's flatmate, the director Marc Allégret (/wiki/Marc_All%C3%A9gret) , while she was filming Blanche Fury in 1947: Allégret's apparently bohemian lifestyle appealed sharply to her romantic side and she revelled in the Left Bank milieu to which he introduced her during script discussions in Paris. There were meals with André Gide (/wiki/Andr%C3%A9_Gide) , Jean Cocteau (/wiki/Jean_Cocteau) and the long-legged Zizi Jeanmaire (/wiki/Zizi_Jeanmaire) . For an attractive British woman who felt deprived of attention ... this was an ideal situation for some sort of reawakening. [64] (#cite_note-64) The previous year a perfume created for Hobson had been marketed as "Great Expectations" to coincide with her role as Estella Havisham (/wiki/Estella_Havisham) in David Lean (/wiki/David_Lean) 's film (/wiki/Great_Expectations_(1946_film)) of that name, based on Charles Dickens (/wiki/Charles_Dickens) ' 1861 novel. In England, this attracted the custom of then- University of Oxford (/wiki/University_of_Oxford) undergraduate Margaret Roberts, later British Prime Minister Margaret Thatcher (/wiki/Margaret_Thatcher) , who, a little daringly for the time, also shopped for "push-up" pink brassieres. [65] (#cite_note-65) In 1953, when Hobson starred in the musical The King and I (/wiki/The_King_and_I) in London, it was apparent that she had retained a Parisienne mix of chic (/wiki/Chic_(style)) and Bohemianism. A Daily Mirror (/wiki/Daily_Mirror) journalist described her "pale, ladylike looks, her well-bred clothes ... she likes embroidery and painting", while a young Etonian (/wiki/Eton_School) who visited her dressing room recalled that "it had been freshly painted pink and white for her, and was like entering a risqué French apartment". [66] (#cite_note-66) Ten years later, when Hobson's husband, the politician John Profumo (/wiki/John_Profumo) , was involved in a sex scandal (/wiki/Profumo_affair) that threatened to destabilize the British government, Prime Minister Harold Macmillan (/wiki/Harold_Macmillan) wrote that "his [Profumo's] wife is very nice and sensible. Of course, these people live in a raffish, theatrical, bohemian society where no one really knows anyone, and everyone is "darling"". [67] (#cite_note-67) Post-war Paris was recalled fondly in 2007 when France introduced a ban (/wiki/Smoking_in_France) on smoking (/wiki/Smoking_ban) in public places. The aroma of Gauloises (/wiki/Gauloises) and Gitanes (/wiki/Gitanes) was, for many years, thought to be an inseparable feature of Parisian café society, but the owner of Les Deux Magots (/wiki/Les_Deux_Magots) , once frequented by Sartre, Simone de Beauvoir (/wiki/Simone_de_Beauvoir) , Albert Camus (/wiki/Albert_Camus) and other writers, observed that "things have changed. The writers of today are not so addicted to cigarettes". [68] (#cite_note-68) A British journalist who interviewed Juliette Gréco in 2010 described Les Deux Magots and the Café de Flore as "now overpriced tourist hotspots" and noted that "chain stores and expensive restaurants have replaced the bookshops, cafés and revolutionary ideas of Jean-Paul Sartre and Simone de Beauvoir (/wiki/Simone_de_Beauvoir) 's Rive Gauche". [69] (#cite_note-69) As measures of changing attitudes to cuisine (/wiki/Cuisine) and fashion, by the early 21st century 80% of French croissants (/wiki/Croissants) were being made in food plants, while, by 2014, only one factory continued to manufacture the traditional male beret (/wiki/Beret) associated with printers, artists, political activists and, during the inter-war years, the tennis player Jean Borotra (/wiki/Jean_Borotra) . [70] (#cite_note-70) New influences in 1960s [ edit ] The bohemian traits of post-war Paris spread to other urban parts of the French-speaking world, notably to Algiers (/wiki/Algiers) , where an underground culture of "jazz clubs, girls and drugs" grew up – in the words of punk rock (/wiki/Punk_rock) producer Marc Zermati (/wiki/Marc_Zermati) , who was in the city at the height of the Algerian war (/wiki/Algerian_war) in the late 1950s, "all very French". [71] (#cite_note-71) However, that war marked a turning point which, in the view of some, was so traumatic that "ordinary French people" looked instead to America as "a new model for pleasure and happiness". [72] (#cite_note-72) This, in turn, led to the ye-ye (/wiki/Ye-ye) music of the early to mid 1960s (named after the British band, the Beatles (/wiki/Beatles) ' use of "yeah, yeah" in some their early songs [73] (#cite_note-73) ) and the rise of such singers as Johnny Hallyday (/wiki/Johnny_Hallyday) and Françoise Hardy (/wiki/Fran%C3%A7oise_Hardy) . The French also adopted a number of British singers ( Petula Clark (/wiki/Petula_Clark) , Gillian Hills (/wiki/Gillian_Hills) , Jane Birkin (/wiki/Jane_Birkin) ) who performed successfully in French, Birkin forming a long-term relationship with singer-songwriter Serge Gainsbourg (/wiki/Serge_Gainsbourg) , who was a seminal figure in French popular music in the 1960s and 1970s. In 1968 major industrial and student unrest in Paris and other parts of France came close to ousting the government of President Charles de Gaulle (/wiki/Charles_de_Gaulle) , who, after leading the Free French (/wiki/Free_French) during the Second World War, had returned to power at the time of the Algerian emergency. The events of 1968 (/wiki/May_1968_events_in_France) represented a further significant landmark in post-war France, [74] (#cite_note-74) although their longer term impact was probably more on cultural, social and academic life than on the political system, which, through the constitution of the Fifth Republic (/wiki/French_Fifth_Republic) (1958), has remained broadly intact. [75] (#cite_note-75) Indeed, one paradox of 1968 was that the first student demonstrations broke out at Nanterre (/wiki/Nanterre_University) , whose catchment area included the affluent and " chic (/wiki/Chic) " 16th and 17th arrondissements of Paris. Its students were more modish (/wiki/Modishness) and "trendy" than those of the Sorbonne (/wiki/University_of_Paris) in the city's Latin Quarter (/wiki/Quartier_Latin) , being described at the time in terms that typify more generally the styles and attitudes of young people in the late 1960s: It is the girls that give the show away – culottes (/wiki/Culottes) , glossy leather, mini-skirts (/wiki/Mini_skirt) , boots – driving up in Mini-Coopers (/wiki/Mini) ... Rebellious sentiment is more obvious among the boys: long hair, square spectacles, Che Guevara (/wiki/Che_Guevara) [Cuban revolutionary, died 1967] beards. The picture in Nanterre in May was lots and lots of painted dollies cohabiting with unkempt revolutionaries. [76] (#cite_note-76) America: the beat generation and flower power [ edit ] Snejana Onopka (/wiki/Snejana_Onopka) on the runway for Anna Sui (/wiki/Anna_Sui) in November 2011. In the United States adherents of the " beat (/wiki/Beat_generation) " counter-culture (probably best defined by Jack Kerouac (/wiki/Jack_Kerouac) 's novel, On the Road (/wiki/On_the_Road) , set in the late 1940s, written in 1952 and published in 1957) were associated with black polo-neck (/wiki/Polo_neck) (or turtle neck) sweaters, blue denim jeans and sandals. The influence of this movement could be seen in the persona and songs of Bob Dylan (/wiki/Bob_Dylan) in the early- to mid-1960s, "road" films like Easy Rider (/wiki/Easy_Rider) (1969) and the punk (/wiki/Punk_rock) -oriented " New Wave (/wiki/New_wave_music) " of the mid-1970s, which, among other things, produced a boho style icon in Deborah Harry (/wiki/Debbie_Harry) of the New York band Blondie (/wiki/Blondie_(band)) . (However, as with some American musicians of the mid-1960s, such as Sonny and Cher (/wiki/Sonny_and_Cher) , Blondie came to international prominence only after a tour of Britain in 1978.) [77] (#cite_note-77) Greenwich Village and West Coast [ edit ] New York's Greenwich Village (/wiki/Greenwich_Village) , which, since the late 19th century, had attracted many women with feminist (/wiki/Feminism) or " free love (/wiki/Free_love) " ideals, [78] (#cite_note-78) was a particular magnet for bohemians in the early 1960s. Bob Dylan's girl-friend Suze Rotolo (/wiki/Suze_Rotolo) , who appeared with him on the cover of his second album The Freewheelin' Bob Dylan (/wiki/The_Freewheelin%27_Bob_Dylan) (1963), recalled that the Village was "where people like me went – people who didn't belong where they came from ... where the writers I was reading and the artists I was looking at had lived or passed through". [79] (#cite_note-79) These "beatniks" (as they came to be known by the late 1950s) were, in many ways, the antecedents of the hippie movement that formed on the West Coast of the US in the mid-1960s [80] (#cite_note-80) and came to the fore as the first post-war baby-boomers (/wiki/Baby-boomers) reached the age of majority in the " Summer of Love (/wiki/Summer_of_Love) " of 1967. The Monterey Pop Festival (/wiki/Monterey_Pop_Festival) was a major landmark of that year, which was associated with "flowerpower" (/wiki/Flower_power) , psychedelia (/wiki/Psychedelia) , opposition to the Vietnam War (/wiki/Vietnam_War) and the inventive music and flowing, colorful fashions of, among others, Jimi Hendrix (/wiki/Jimi_Hendrix) , the Mamas & the Papas (/wiki/The_Mamas_%26_the_Papas) , Jefferson Airplane (/wiki/Jefferson_Airplane) and the British group, The Beatles (/wiki/The_Beatles) , whose album, Sgt. Pepper's Lonely Hearts Club Band (/wiki/Sgt._Pepper%27s_Lonely_Hearts_Club_Band) , is said to have caused the guru of psychedelia, Timothy Leary (/wiki/Timothy_Leary) , to remark that "my work is finished". [81] (#cite_note-81) Hippiedom and the Pre-Raphaelites [ edit ] The documentary film, Festival (/wiki/Festival_(1967_film)) ( Murray Lerner (/wiki/Murray_Lerner) , 1967), recorded how the "clean-cut college kids" who attended the Newport (Rhode Island) Folk Festival (/wiki/Newport_Folk_Festival) in 1963–1964 had, by 1965 (when Bob Dylan caused a sensation (/wiki/Electric_Dylan_controversy) at that year's festival by playing an electric guitar), become "considerably scruffier": "the hippies were waiting to be born". [82] (#cite_note-82) Among other things, the wearing of male neckties, which, in the mid-1960s, had often drawn on 19th century paisley patterns, [10] (#cite_note-autogenerated1990-10) declined as muttonchop (/wiki/Sideburns) whiskers and teashades (/wiki/Sunglasses) (sunglasses) came in: by the time of the Chicago 7 (/wiki/Chicago_7) trial (late 1969), hair over the collars had become so commonplace that it was beginning to transcend Bohemian style, taking on mass popularity in the 1970s. The London art dealer Jeremy Maas (/wiki/Jeremy_Maas) reflected in the mid-1980s that: there [was] no question that the Hippy [sic] movement and its repercussive influence in England owed much of its imagery, its manner, dress and personal appearance to the Pre-Raphaelite ideal ... It was observed by all of us who were involved with these exhibitions [of pre-Raphaelite paintings] that visitors included increasing numbers of the younger generation, who had begun to resemble the figures in the pictures they had come to see. [83] (#cite_note-83) Jimmy Page (/wiki/Jimmy_Page) of the British band Led Zeppelin (/wiki/Led_Zeppelin) , who collected Pre-Raphaelite paintings, observed of Edward Burne-Jones that "the romance of the Arthurian (/wiki/King_Arthur) legends [captured in his paintings] and the bohemian life of the artists who were reworking these stories seemed very attuned to our time", [84] (#cite_note-84) while the author David Waller noted in 2011 that Burne-Jones' subjects "have much in common with the sixties rock chicks and their pop-star paladins (/wiki/Paladin) ". [85] (#cite_note-85) London in the 1950s [ edit ] Although the annual Saturday Book (/wiki/The_Saturday_Book) recorded in 1956 a view that "London's now nothing but flash coffee bars, with teddies and little bits of girls in jeans", [86] (#cite_note-86) the "Edwardian" (" teddy boy (/wiki/Teddy_boy) ") look of the times did not coincide with Bohemian tastes. For women, the legacy of the "New Look" was still apparent, although hemlines had generally risen as, as one journalist put it in 1963, "photographs of those first bold bearers of the New Look make them seem strangely lost and bewildered, as though they had mistaken their cue and come on stage fifty years late". [87] (#cite_note-87) The Bohemian foci during this period were the jazz clubs and espresso (/wiki/Espresso) bars of Soho (/wiki/Soho) and Fitzrovia (/wiki/Fitzrovia) . Their habitués usually wore polo necks; in the words of one social historian, "thousands of pale, duffel-coat (/wiki/Duffle_Coat) -clad students were hunched in coffee bars over their copies of Jean-Paul Sartre and Jack Kerouac". [88] (#cite_note-88) Various public houses (/wiki/Pub) and clubs also catered for Bohemian tastes, notably the Colony Room Club (/wiki/Colony_Room_Club) in Soho, opened in 1948 by Muriel Belcher (/wiki/Muriel_Belcher) , a lesbian from Birmingham (/wiki/Birmingham) . [89] (#cite_note-89) As with the literary phenomenon of the so-called " Angry Young Men (/wiki/Angry_Young_Men) " from 1956 onwards, the image was more a male, than a female, one. However, when the singer Alma Cogan (/wiki/Alma_Cogan) wished to mark her success by buying mink (/wiki/Mink) coats for her mother and sister, the actress Sandra Caron, the latter asked for a duffel-coat instead because she wanted to be regarded as a serious actress and "a sort of a beatnik". [90] (#cite_note-90) In 1960 the future author Jacqueline Wilson (/wiki/Jacqueline_Wilson) , who, as a teenager, lived in Kingston-upon-Thames (/wiki/Kingston-upon-Thames) , Surrey, captured this look after spotting two acquaintances in a record shop "in turquoise (/wiki/Turquoise) duffle coats, extremely tight jeans and cha-cha (/wiki/Cha-cha-cha_(dance)) shoes being cuddled by a group of horrible spotty teddy boys". [91] (#cite_note-91) Continental influences [ edit ] In Iris Murdoch (/wiki/Iris_Murdoch) 's novel The Bell (1958), an art student named Dora Greenfield bought "big multi-colored skirts and jazz records and sandals". However, as Britain emerged from post-war austerity (/wiki/Austerity) , some Bohemian women found influences from continental Europe, adopting, for example, the " gamine (/wiki/Gamine) look", with its black jerseys and short, almost boyish hairstyles associated with film actresses Audrey Hepburn (/wiki/Audrey_Hepburn) ( Sabrina (/wiki/Sabrina_(1954_film)) , 1954, and as a "Gréco beatnik" [92] (#cite_note-ReferenceA-92) in Funny Face (/wiki/Funny_Face) , 1957) and Jean Seberg (/wiki/Jean_Seberg) ( Bonjour Tristesse (/wiki/Bonjour_Tristesse_(film)) , 1958 and A bout de souffle , 1960), as well as the French novelist Françoise Sagan (/wiki/Fran%C3%A7oise_Sagan) , who, as one critic put it, "was celebrated for the variety of her partners and for driving fast sports cars in bare feet as an example of the free life". [93] (#cite_note-93) In 1961 Fenella Fielding (/wiki/Fenella_Fielding) played "a mascara-clad Gréco-alike" in The Rebel (/wiki/The_Rebel_(1961_film)) with comedian Tony Hancock (/wiki/Tony_Hancock) , [92] (#cite_note-ReferenceA-92) while, more recently, Talulah Riley (/wiki/Talulah_Riley) replicated the look for scenes in ITV's 2006 adaptation of Agatha Christie's The Moving Finger (/wiki/The_Moving_Finger) , [94] (#cite_note-94) set in 1951. Others favored the lower-cut, tighter styles of continental stars such as Bardot or Gina Lollobrigida (/wiki/Gina_Lollobrigida) . Valerie Hobson was among those whose wardrobe drew on Italian couture ; in addition to a large collection of stiletto heeled (/wiki/Stiletto_heel) shoes, she possessed a skirt made from python (/wiki/Python_(genus)) skin. [95] (#cite_note-95) More generally, European tastes – including the Lambretta (/wiki/Lambretta_(motorscooter)) motor scooter and Italian and French cuisine, which the widely traveled cookery writer Elizabeth David (/wiki/Elizabeth_David) , herself a bit of a Bohemian, did much to promote [96] (#cite_note-96) – not only began to pervade Bohemian circles, but offered a contrast, from 1955 onwards, with the brasher Americanism of rock 'n' roll (/wiki/Rock_%27n%27_roll) , with its predominantly teenage (/wiki/Teenager) associations. Hamburg and Beatlemania [ edit ] Bobbed hair revival: Barbara Feldon (/wiki/Barbara_Feldon) with Don Adams (/wiki/Don_Adams) in Get Smart (/wiki/Get_Smart) (1965) In 1960, when the Beatles (then an obscure Liverpudlian (/wiki/Liverpudlian) combo with five members, as opposed to their eventual "fab" four) were working in Hamburg (/wiki/Hamburg) , West Germany, they were influenced by a Bohemian "art school" set known as Exis (for "existentialists"). The Exis were roughly equivalent to what in France became known as les beats and included photographer Astrid Kirchherr (/wiki/Astrid_Kirchherr) (for whom the " fifth Beatle (/wiki/Fifth_Beatle) " Stuart Sutcliffe (/wiki/Stuart_Sutcliffe) left the group) and artist and musician Klaus Voormann (/wiki/Klaus_Voormann) (who designed the cover for the Beatles' album Revolver (/wiki/Revolver_(Beatles_album)) in 1966). John Lennon (/wiki/John_Lennon) 's wife Cynthia (/wiki/Cynthia_Lennon) recalled that Kirchherr was fascinated by the Beatles' "teddy-boy style", but that they, in turn, were "bowled over by her hip black clothes, her avant garde (/wiki/Avant_garde) way of life, her photography and her sense of style". [97] (#cite_note-97) As a result the group acquired black leather jackets, as well as fringed hairstyles (/wiki/Eponymous_hairstyles) that were the prototype of the " mop-top (/wiki/Mop-top) " cuts associated with " Beatlemania (/wiki/Beatlemania) " in 1963–1964. [98] (#cite_note-98) The latter coincided with the revival of the bobbed style for women, promoted in London by hairdresser Vidal Sassoon (/wiki/Vidal_Sassoon) , [99] (#cite_note-99) initially for actress Nancy Kwan (/wiki/Nancy_Kwan) , and adopted by, among others, singers Cilla Black (/wiki/Cilla_Black) , [100] (#cite_note-100) Billie Davis (/wiki/Billie_Davis) and, in America, Bev Bivens (/wiki/Bev_Bivens) of We Five (/wiki/We_Five) and Tammi Terrell (/wiki/Tammi_Terrell) , fashion designers Mary Quant (/wiki/Mary_Quant) and Jean Muir (/wiki/Jean_Muir) , American actress Barbara Feldon (/wiki/Barbara_Feldon) in the TV series Get Smart (/wiki/Get_Smart) , and, in the form of a longer bob, Cathy McGowan (/wiki/Cathy_McGowan_(presenter)) , who presented the influential British TV pop music show, Ready Steady Go! (/wiki/Ready_Steady_Go!) (1963–1966). [101] (#cite_note-101) However, when longer blonde hair (associated with, among many others, Julie Christie (/wiki/Julie_Christie) , Samantha Juste (/wiki/Samantha_Juste) , Judy Geeson (/wiki/Judy_Geeson) and fashion model Lorna McDonald (/wiki/Lorna_McDonald_(model)) , who, at the end of each edition of the BBC's Dee Time , jumped into Simon Dee (/wiki/Simon_Dee) 's open E-type Jaguar (/wiki/E-type_Jaguar) [102] (#cite_note-102) ) came to typify the "sixties" look, advertisers turned to the Bohemian world for inspiration: through its use of herbs, Sunsilk (/wiki/Sunsilk) shampoo (/wiki/Shampoo) was said to have "stolen something from the gypsies". [103] (#cite_note-103) Swinging London [ edit ] Beatlemania did not of itself create the apparent iconoclasm (/wiki/Iconoclasm) of the 1960s; however, as one writer put it, "just as Noël Coward (/wiki/No%C3%ABl_Coward) and Cole Porter (/wiki/Cole_Porter) reflected the louche, carefree attitude of the [Nineteen] Twenties, so did the Beatles' music capture the rhythm of breaking free experienced by an entire generation of people growing up in the Sixties". [10] (#cite_note-autogenerated1990-10) By the middle of the decade, British pop music had stimulated the fashion boom of what Time called " swinging London (/wiki/Swinging_London) ". [104] (#cite_note-104) Associated initially with such " mod (/wiki/Mod_(subculture)) " designs as Quant's mini-skirt (/wiki/Mini-skirt) , this soon embraced a range of essentially Bohemian styles. These included the military and Victorian fashions popularized by stars who frequented boutiques such as Granny Takes a Trip (/wiki/Granny_Takes_a_Trip) , the "fusion of fashion, art and lifestyle" opened by Nigel Waymouth (/wiki/Nigel_Waymouth) in the King's Road (/wiki/Kings_Road) , Chelsea (/wiki/Chelsea,_London) in January 1966, [105] (#cite_note-105) and, by 1967, the hippie look largely imported from America (although, as noted, London stores such as Biba (/wiki/Biba) had, for some time, displayed dresses that drew on Pre-Raphaelite imagery). [106] (#cite_note-106) The Rolling Stones (/wiki/Rolling_Stones) ' Keith Richards (/wiki/Keith_Richards) , whose early girlfriend, Linda Keith (/wiki/Linda_Keith) , had, in her late teens, been a bohemian force in West Hampstead (/wiki/West_Hampstead) , noted on the Stones' return from an American tour in 1967 how quickly hippiedom had transformed the London scene. [107] (#cite_note-107) Victorian imagery [ edit ] Lewis Carroll (/wiki/Lewis_Carroll) 's Alice (/wiki/Alice_in_Wonderland) ( John Tenniel (/wiki/John_Tenniel) ) This fusion of influences was discernible in two black-and-white productions for BBC (/wiki/BBC) television in 1966: the series Adam Adamant Lives! (/wiki/Adam_Adamant_Lives!) , starring Gerald Harper (/wiki/Gerald_Harper) as an Edwardian adventurer who had been cryopreserved (/wiki/Cryopreservation) in time and Juliet Harmer (/wiki/Juliet_Harmer) as Georgina Jones (/wiki/Georgina_Jones) , a stylish "mod" who befriended him, and Jonathan Miller (/wiki/Jonathan_Miller) 's dreamy, rather Gothic (/wiki/Gothic_fiction) production of Lewis Carroll (/wiki/Lewis_Carroll) 's mid-Victorian children's fantasy Alice in Wonderland (/wiki/Alice_in_Wonderland_(1966_TV_play)) (1865). [108] (#cite_note-108) (Confirming the aspiration, Sydney Newman (/wiki/Sydney_Newman) , the BBC's Head of Television Drama in the 1960s, reflected of Adam Adamant that "[they] could never quite get [the] Victorian mentality to contrast with the '60s".) [109] (#cite_note-109) On the face of it, Carroll (a pseudonym for Charles Lutwidge Dodgson) had been a rather conventional and repressed Oxford (/wiki/University_of_Oxford) University don (/wiki/University_don) , but he was a keen and artistic photographer in the early days of that medium (taking, among other things, rather bohemian looking pictures of Alice Liddell (/wiki/Alice_Liddell) and other young girls) [110] (#cite_note-110) and he developed an empathy and friendship with several of the Pre-Raphaelites; [111] (#cite_note-111) the sculptor Thomas Woolner (/wiki/Thomas_Woolner) and possibly even Rossetti dissuaded him from illustrating Alice himself, [112] (#cite_note-112) a task that was undertaken instead by John Tenniel (/wiki/John_Tenniel) . The imagery of Alice , both textually and graphically, lent itself well to the psychedelia of the late 1960s. [113] (#cite_note-113) In America, this was apparent in, among other ways, the "Alice happening" in Central Park (/wiki/Central_Park) , New York (1968) when naked participants covered themselves in polka dots (/wiki/Polka_dots) [114] (#cite_note-114) and the lyrics to Grace Slick (/wiki/Grace_Slick) 's song " White Rabbit (/wiki/White_Rabbit_(song)) " (1966) – "One pill makes you larger/And one pill makes you small" – that she performed with both the Great Society (/wiki/The_Great_Society_(band)) and Jefferson Airplane, including with the latter at Woodstock in 1969. Women in the late 1960s and early 1970s [ edit ] Mid 1970s dresses by Laura Ashley exhibited at the Fashion Museum, Bath (/wiki/Fashion_Museum,_Bath) , England in 2013 By the late 1960s shops such as Laura Ashley (/wiki/Laura_Ashley) (whose first London outlet opened in 1968) [115] (#cite_note-115) were routinely promoting the "peasant look" and selling a range of "uniquely eccentric clothes ... The magic was being able to step into a 'Laura Ashley' dress and imagine you had found something out of a dressing-up box". [116] (#cite_note-116) At around the same time too, and into the 1970s, the brassière (or bra), which, as noted, had been seen as a liberating innovation in the early part of the century, came to be regarded by some women, such as the Australian academic Germaine Greer (/wiki/Germaine_Greer) ( The Female Eunuch (/wiki/The_Female_Eunuch) , 1969), as an unduly restrictive symbol of traditional womanhood. However, the much-publicised incidence of " bra burning (/wiki/Bra_burning) " in the 1970s tended to be overstated and came to be satirised: for example, in the 1973 film, Carry On Girls (/wiki/Carry_On_Girls) , and a poster by Young & Rubicam, [117] (#cite_note-117) one of a mildly subversive series for Smirnoff vodka (/wiki/Smirnoff_vodka) : "I never thought of burning my bra until I discovered Smirnoff". It was also seen by many, including Greer herself, as a distraction from the cause of women's "liberation" (/wiki/Feminist_movement) . [118] (#cite_note-118) A Vermont (/wiki/Vermont) lawyer later observed wryly that "like every good feminist-in-training in the sixties, I burned my bra", but that "now it's the nineties ... I realize Playtex (/wiki/Playtex) [underwear manufacturer] had supported me better than any man I know." [119] (#cite_note-119) Claire Perry (/wiki/Claire_Perry) , who became a Conservative (/wiki/Conservative_Party_(UK)) Member of Parliament (/wiki/Member_of_Parliament_(UK)) in 2010 and later a government minister, reflected that, as a "women's officer" at Oxford University in the early 1980s, she was "a bra-burning feminist with a hideous new-romantic (/wiki/New_romantic) haircut", but that her feminism had, in her view, matured. [120] (#cite_note-120) "Girl power" [ edit ] By the mid-1980s, the American singer Madonna (/wiki/Madonna_(entertainer)) had turned the bra into a positive, even provocative, fashion statement. Madonna's flamboyant and gritty style (notably seen to bohemian effect alongside Rosanna Arquette (/wiki/Rosanna_Arquette) in the 1985 film, Desperately Seeking Susan (/wiki/Desperately_Seeking_Susan) ) was, in turn, a precursor of so-called " girl power (/wiki/Girl_power) " that was associated in the 1990s with various prominent young women (such as singers Courtney Love (/wiki/Courtney_Love) , who played the 1999 Glastonbury Festival (/wiki/Glastonbury_Festival) in a headline-grabbing pink bra, [121] (#cite_note-121) and the more commercially oriented Spice Girls (/wiki/Spice_Girls) ) and offbeat or quirky American television series ( Xena: Warrior Princess (/wiki/Xena:_Warrior_Princess) , Buffy the Vampire Slayer (/wiki/Buffy_the_Vampire_Slayer_(TV_series)) , Caroline in the City (/wiki/Caroline_in_the_City) , Sex and the City (/wiki/Sex_and_the_City) ). Since the 1960s: hippie/boho-chic [ edit ] Main article: Boho-chic (/wiki/Boho-chic) Zooey Deschanel (/wiki/Zooey_Deschanel) (left) performing with M. Ward (/wiki/M._Ward) as She & Him (/wiki/She_%26_Him) , Newport Folk Festival (/wiki/Newport_Folk_Festival) , 2008 Journalist Bob Stanley remarked that "the late 1960s are never entirely out of fashion, they just need a fresh angle to make them de jour ". [122] (#cite_note-122) Thus, the features of hippie fashion re-emerged at various stages during the ensuing forty years. In the mid-to-late 1980s, variants of the short and fundamentally un-Bohemian rah-rah skirt (/wiki/Rah-rah_skirt) (which originated with cheerleaders (/wiki/Cheerleading) ) were combined with leather or denim to create a look with some Bohemian or even gothic (/wiki/Gothic_fashion) features (for example, by the singing duo Strawberry Switchblade (/wiki/Strawberry_Switchblade) who took inspiration from 1970s punk fashion (/wiki/Punk_fashion) ). [123] (#cite_note-123) In the 1990s the term, "hippie chic (/wiki/Chic_(style)) ", was applied to Tom Ford (/wiki/Tom_Ford) 's collections for the Italian house of Gucci (/wiki/Gucci) . These drew on, among other influences, the style, popular in retrospect, of Talitha Getty (/wiki/Talitha_Getty) (died 1971), actress wife of John Paul Getty (/wiki/John_Paul_Getty_III) and step-granddaughter of Dorelia McNeil, who was represented most famously in a photograph of her and her husband taken by Patrick Lichfield (/wiki/Patrick_Lichfield) in Marrakesh (/wiki/Marrakesh) , Morocco in 1969. [124] (#cite_note-124) Recalling the influx of hippies into Marrakesh in 1968, Richard Neville (/wiki/Richard_Neville_(writer)) , then editor of Oz (/wiki/Oz_(magazine)) , wrote that "the dapper drifters in embroidered skirts and cowboy boots (/wiki/Cowboy_boots) were so delighted by the bright satin '50s underwear favored by the matrons of Marrakesh that they wore them outside their denims à la Madonna [the singer] twenty-five years later". [125] (#cite_note-125) In the early 21st century, "boho-chic" was associated initially with supermodel Kate Moss (/wiki/Kate_Moss) and then, as a highly popular style in 2004–2005, with actress Sienna Miller (/wiki/Sienna_Miller) . In America, similar styles were sometimes referred to as " bobo (/wiki/Bourgeois_bohemian) -", "ashcan chic", or " luxe grunge (/wiki/Luxe_grunge) ", their leading proponents including actresses Mary-Kate Olsen (/wiki/Mary-Kate_Olsen) and Zooey Deschanel (/wiki/Zooey_Deschanel) . As if to illustrate the cyclical nature of fashion, by the end of the noughties (/wiki/Noughties) strong pre-Raphaelite traits were notable in, among others, singer Florence Welch (/wiki/Florence_Welch) , model Karen Elson (/wiki/Karen_Elson) and designer Anna Sui (/wiki/Anna_Sui) . [126] (#cite_note-126) In Germany, terms like Bionade-Bourgeoisie , Bionade-Biedermeier (/wiki/Bionade-Biedermeier) or Biohème refer to former Bohemians that gained a sort of Cultural hegemony (/wiki/Cultural_hegemony) with their LOHA (/wiki/LOHAS) lifestyle; [127] (#cite_note-:5-127) the phenomenon of such former (young) bohemians becoming established during the years is a typical aspect of gentrification (/wiki/Gentrification) processes. A bon mot (/wiki/Bon_mot) of Michael Rutschky (/wiki/Michael_Rutschky) claimed that at the end of the 20th century, "not the Proletariat (/wiki/Proletariat) , but the Bohème (/wiki/Boh%C3%A8me) became the ruling class". [128] (#cite_note-128) The group in question uses especially food as a means of distinction (/wiki/Distinction_(1979_book)) [129] (#cite_note-:6-129) [130] (#cite_note-:2-130) [131] (#cite_note-:3-131) and separation. [130] (#cite_note-:2-130) Among others, the lemonade trademark Bionade (/wiki/Bionade) has been connected with the phenomenon. See also [ edit ] Bohemia in London (/wiki/Bohemia_in_London) Notes [ edit ] ^ a b Howarth, Alice (26 July 2022). "The history of Boho chic and why it's back for 2022" (https://www.harpersbazaar.com/uk/fashion/shows-trends/a40663160/boho-fashion-trend/) . harpersbazaar.com . Harper's Bazaar . Retrieved 23 August 2023 . ^ (#cite_ref-2) The original Pre-Raphaelite Brotherhood had been formed in 1848 by William Holman Hunt (/wiki/William_Holman_Hunt) , Rossetti and John Everett Millais (/wiki/John_Everett_Millais) , who aspired to a style of painting that they felt had been lost since the time of Raphael (/wiki/Raphael) (1483–1520). ^ (#cite_ref-3) Franny Moyle (2009) Desperate Romantics ^ (#cite_ref-4) See, for example, Virginia Nicholson (2002) Among The Bohemians ^ (#cite_ref-5) Though more conventional in many ways than Jane Morris, Georgie Burne-Jones was becoming "a bit of a bohemian" even in the early days of her marriage; for example, she would ask her maid to model for sketches in mid-morning, whereas a typical bourgeois wife would have given priority to the housework: Fiona MacCarthy (2011) The Last Pre-Raphaelite . ^ (#cite_ref-6) Judith Flanders (2001) A Circle of Sisters ^ (#cite_ref-7) Henry James, letter to Alice James, 10 March 1869 ^ (#cite_ref-8) Pygmalion , introduction to Act III ^ (#cite_ref-9) Fiona MacCarthy (2011) The Last Pre-Raphaelite ^ a b c Anne Sebba (1990) Laura Ashley: a Life By Design ^ (#cite_ref-11) MacCarthy, op. cit. ^ (#cite_ref-12) Suzanne Fagence Cooper (2010) The Model Wife: The Passionate Lives of Effie Gray, Ruskin and Millais . Florence Nightingale's observations regarding the foxgloves are noted in correspondence of her friend, the novelist Elizabeth Gaskell (/wiki/Elizabeth_Gaskell) , whose acquaintance with Effie Ruskin dated back to their schooldays. However, it is unclear when Nightingale herself met Effie: Cooper, op.cit , footnote 85. (Gaskell was especially well connected. In 1861, for example, she was part of a house party at Fryston (/wiki/Fryston_village) Hall, Yorkshire (/wiki/Yorkshire) given by Richard Monckton Milnes (/wiki/Richard_Monckton_Milnes,_1st_Baron_Houghton) – a persistent suitor of Florence Nightingale – that included also the MP William Forster (/wiki/William_Edward_Forster) , Austen Layard (/wiki/Austen_Layard) , who excavated the biblical city of Ninevah (/wiki/Ninevah) , and the American (Union) Minister in London, Charles Francis Adams (/wiki/Charles_Francis_Adams,_Sr.) . Gaskell was among a group visiting nearby Pomfret Castle (/wiki/Pomfret_Castle) when Adam received news of the Trent incident (/wiki/Trent_incident) that, in the early stages of the American Civil War (/wiki/American_Civil_War) almost brought Britain and the Union to war: see Amanda Foreman (2010) A World on Fire .) ^ (#cite_ref-13) David Cannadine (1998) History in Our Time ^ (#cite_ref-14) Diary of Pauline, Lady Trevelyan, 24 June 1853, quoted in Robert Brownwell (2013) Marriage of Inconvenience ^ a b Brownwell, op.cit. ^ (#cite_ref-16) Robert Melville in New Statesman , 20 November 1970 ^ (#cite_ref-17) See MacCarthy, (http://www.victorianweb.org/painting/bj/paintings/18.html) op.cit. ; ^ (#cite_ref-18) Eleanor Mills in Sunday Times Culture , 19 July 2015 (reviewing Kate Bolick, Spinster ) ^ (#cite_ref-19) Virginia Nicholson (2002) Among The Bohemians ^ (#cite_ref-20) John Sutherland in The Times , 21 December 2013, reviewing Lucinda Hawksley, Princess Louise: Queen Victoria's Rebellious Daughter ^ a b c d Martin Pugh (/wiki/Martin_Pugh_(author)) (2008) We Danced All Night ^ (#cite_ref-22) The Times Luxx , 26 November 2011 ^ (#cite_ref-23) Andrew Marr (2009) The Making of Modern Britain . ^ (#cite_ref-24) Henrietta Heald, 'For England's Sake', History Today , October 2014, p. 33 ^ (#cite_ref-25) Kate Adie (2013) Fighting on the Home Front: The Legacy of Women in World War One . Tilley was actively involved in recruitment for war service and was happily married to her songwriter, Walter de Frece (/wiki/Walter_de_Frece) , who was later knighted and became a Member of Parliament. ^ (#cite_ref-26) Robert Graves & Alan Hodge (1940) The Long Weekend: A Social History of Great Britain 1918–1939 ^ (#cite_ref-27) Edward Fawcett in Royal Academy of Arts Magazine , June 2012 ^ (#cite_ref-28) Times obituary of Gussie Moran, 19 January 2013 ^ a b John Stevenson (1984) British Society 1914–45 ^ (#cite_ref-30) Rhoda Marley to Clive FitzWatters and Harold Twine in Travers, Rookery Nook , chapter XII. Offering to assist her, Clive had suggested to Twine that "it will be more or less guess-work on my part – in the bag put one pair of thin com – er – lady's summer underwear". Rhoda asked if Twine "could just manage a pair of cami-knickers (/wiki/Camiknickers) and a Princess petticoat (/wiki/Petticoat) ". As early as 1920, in Travers' début novel (/wiki/Debut_novel) The Dippers (/wiki/The_Dippers) , Pauline Dipper's "black silk petticoat [did not] extend unduly, and it was possible to esteem the shapely outline of calf and instep, compressed in stockings of the same material" (chapter III). Also in The Dippers , a young woman tried to start a conversation about "hygienic underclothing for ladies" with a man she mistakenly believed to have written articles on the subject: "I wanted to speak to you about something delicate ... this is not a subject one can discuss in public. People have such conventional ideas" (Helen Monk to Henry Talboyes, chapter VIII). ^ (#cite_ref-31) Glamour's Golden Age , BBC4, 26 October 2009 ^ (#cite_ref-32) Jane Ellen Wayne (1993) Clark Gable: Portrait of a Misfit ^ (#cite_ref-33) Quoted in Halliwell's Filmgoer's Companion (10th ed. 1993) edited by John Walker. Almost 70 years after Lombard's death, the Sunday Times described red lipstick as the " ne plus ultra [not further beyond] of make up ... We respect red lipstick as a badge of loveliness and youth ( Georgia May (/wiki/Georgia_May_Foote) ), bold style ( Florence Welch (/wiki/Florence_Welch) ), sexual confidence ( Scarlett Johansson (/wiki/Scarlett_Johansson) ) and old-school glamour ( Rosie Huntington-Whiteley (/wiki/Rosie_Huntington-Whiteley) ) – and, above all, we appreciate that it doesn't work for everyone": Shane Watson in Style , 4 December 2011. ^ (#cite_ref-34) Wayne, op.cit. ^ (#cite_ref-35) Tim Stanley, 'Speaking in Code', History Today , October 2014 ^ (#cite_ref-36) Graves & Hodge, op.cit. ^ (#cite_ref-37) Virginia Nicholson (2002) Among the Bohemians ^ (#cite_ref-38) Katherine Everett (1949) Bricks and Flowers . See also Juliet Nicholson (2006) The Perfect Summer ^ (#cite_ref-39) Katherine Everett (1949) Bricks and Flowers ^ (#cite_ref-40) See Diana Souhami (2004) Wild Girls ^ (#cite_ref-41) Gilbert Cannan (1916) Mendel ^ (#cite_ref-42) Gretchen Gerzine (1989) Carrington ^ (#cite_ref-43) Max Hastings (2013) Catastrophe: Europe Goes to War 1914 . Hastings himself rejected the notion that the years immediately before the war represented some sort of golden age. ^ (#cite_ref-44) See Ellie Pithers in Telegraph Magazine , 26 January 2013. The term, "vamp" (after "vampire"), was associated in particular with the silent film actress Theda Bara (/wiki/Theda_Bara) (1885–1955). ^ (#cite_ref-45) Valentina was originally a comic book creation by Italian artist Guido Crepax (/wiki/Guido_Crepax) , inspired by Louise Brooks in Pandora's Box : see Roland Jaccard (ed. 1986) Louise Brooks: Portrait of an Anti-Star . ^ (#cite_ref-46) Greenwood (2012) Unnatural Habits ^ (#cite_ref-47) Tasmanian (/wiki/Tasmania) -born Davis was in her early 40s when she played Phryne Fisher, though the heroine of the books was only as old as the century (28 in 1928). Other recent examples of the 1920s style bob have included Gemma Arterton (/wiki/Gemma_Arterton) in St. Trinian's (/wiki/St_Trinian%27s_(2007_film)) (2007) and Michelle Dockery (/wiki/Michelle_Dockery) as Lady Mary Crawley in the 5th series of ITV's Downton Abbey (/wiki/Downton_Abbey) (2014), the latter set in 1924. ^ (#cite_ref-48) Alwyn W. Turner (2010) Rejoice! Rejoice!: Britain in the 1980s ^ (#cite_ref-49) Graham Stewart (2013) Bang! A History of Britain in the 1980s ^ (#cite_ref-50) Tim Stanley, 'Speaking in Code' in History Today , October 2014 at page 21. Dietrich made clear her personal preference for such clothes: "I do not wear them to be sensational. I think I am much more alluring ..." (quoted, ibid .). ^ (#cite_ref-51) "Achieving Laid-Back Minimalism With Shabby Chic Style" (http://www.bohoandflower.com/achieving-laid-back-minimalism-with-shabby-chic-style/) . 4 April 2020. ^ (#cite_ref-52) Clarissa Eden (2007) A Memoir: From Churchill to Eden ^ (#cite_ref-53) Pearson Phillips in Age of Austerity 1945–1951 (ed. Michael Sissons & Philip French, 1963) ^ (#cite_ref-54) Phillips, loc.cit. ^ (#cite_ref-55) With reference to the colourless "utility" garments that became commonplace in Britain during the war, Phillips (loc.cit.) quotes an expert of the time at London's Victoria and Albert Museum (/wiki/Victoria_and_Albert_Museum) as asserting that "men will feel oppressed and frightened by excessive femininity (/wiki/Femininity) when they return from war". ^ (#cite_ref-56) See Dan Halpern in The New Yorker , 25 December 2006 ^ (#cite_ref-57) Samedi-Soir , 3 May 1947 ^ (#cite_ref-58) Dan Halpern, The New Yorker , 25 December 2006 ^ (#cite_ref-59) Quoted in Nicholas Rankin (2011) Ian Fleming's Commandos: The Story of 30 Assault Unit in WWII ^ (#cite_ref-60) Letter, 23 September 1944: Darling Monster: The Letters of Lady Diana Cooper to her Son John Julius Norwich 1939–1952 (ed. John Julius Norwich, 2013) ^ (#cite_ref-61) Antony Beevor (/wiki/Antony_Beevor) & Artemis Cooper (1994) Paris After the Liberation ^ (#cite_ref-62) Interview with Will Hodgkinson, Times Saturday Review , 6 November 2010 ^ (#cite_ref-63) The Times , 27 June 2000 ^ (#cite_ref-64) David Profumo (2006) Bringing the House Down . In contrast to Vadim, who had not turned twenty, Allégret (1900–1973) was in middle age when he directed Hobson. He had been married to the daughter of the editor of French Vogue (/wiki/Vogue_(magazine)) , who left him after the war for a theatrical agent, André Bernham, taking their daughter with her (ibid). Jeanmaire is probably best remembered through the second line – "And you dance like Zizi Jeanmaire" – of Peter Sarstedt (/wiki/Peter_Sarstedt) 's song " Where Do You Go To (My Lovely)? (/wiki/Where_Do_You_Go_To_(My_Lovely)%3F) " (1969) which captured the spirit of Parisian high life in the late 1960s. ^ (#cite_ref-65) Charles Moore (2013) Margaret Thatcher: The Authorized Biography – Volume One: Not for Turning ^ (#cite_ref-66) Eve Champman and Hugo Williams quoted in David Kynaston (/wiki/David_Kynaston) (2009) Family Britain 1951–57 ^ (#cite_ref-67) Harold Macmillan, diary, 22 March 1963, quoted in Alistair Horne (1989) Harold Macmillan 1957–1986 ; Charles Williams (2009) Harold Macmillan ^ (#cite_ref-68) "BBC NEWS – World – Europe – Bidding goodbye to the Gauloises" (http://news.bbc.co.uk/1/hi/world/europe/6319133.stm) . news.bbc.co.uk . February 2007. ^ (#cite_ref-69) Will Hodgkinson, Times Saturday Review , 6 November 2010. Simone de Beauvoir was an existentialist (/wiki/Existentialist) companion of Sartre. See Bruno Waterfield in The Times Saturday Review , 25 July 2015, regarding the "sanitised" Europe of the early 21st century and its effect on French culture. ^ (#cite_ref-70) Bruno Waterfield in The Times Saturday Review , 25 July 2015 (reviewing Jonathan Fenby (2015) The History of Modern France ) ^ (#cite_ref-71) Andrew Hussey, History Today , March 2015, p. 64 (reviewing Barnett Singer, The Americanization of France ). ^ (#cite_ref-72) Hussey, loc.cit. ^ (#cite_ref-73) Notably She Loves You (/wiki/She_Loves_You) ( John Lennon (/wiki/John_Lennon) / Paul McCartney (/wiki/Paul_McCartney) , 1963) ^ (#cite_ref-74) Patrick Seale & Maureen McConville (1968) French Revolution 1968 ^ (#cite_ref-75) At the time, Seale & McConville (op. cit.) described de Gaulle's survival in 1968 as "an amazing demonstration of political virility in a man of 77". He resigned the following year and died in 1970. A later historian contrasted the stature of de Gaulle with "the soap opera lives" of Presidents Sarkozy (/wiki/Nicolas_Sarkozy) (2007–2012) and Hollande (/wiki/Fran%C3%A7ois_Hollande) (2012–): Jonathan Fenby (2015) The History of Modern France: From Revolution to Present Day ^ (#cite_ref-76) Seale & McConville, op. cit. ^ (#cite_ref-77) When the British band the Rolling Stones (/wiki/Rolling_Stones) arrived in Los Angeles in 1964 they were met by Sonny Bono (/wiki/Sonny_Bono) , who was then doing promotional work for producer Phil Spector (/wiki/Phil_Spector) . A year later, he and Cher (/wiki/Cher) were "feted" at the Dorchester Hotel (/wiki/Dorchester_Hotel) in London and "presented to the world" by Ahmet Ertegun (/wiki/Ahmet_Ertegun) : see Keith Richards (2010) Life . ^ (#cite_ref-78) Eleanor Mills in Sunday Times Culture , 19 July 2015 (reviewing Kate Bolick (2015) Spinster ) ^ (#cite_ref-79) Suze Rotolo (2009) A Freewheelin' Time ^ (#cite_ref-80) Suze Rotolo observed that "the Beats had already cracked the façade [of constricted and rigid morality] and we, the next generation, broke through it": A Freewheelin' Time, op. cit. ^ (#cite_ref-81) See The New Yorker , 26 June 2006 ^ (#cite_ref-82) Jason Anderson, "This Land is Your Land" in Uncut , September 2015, p. 60 ^ (#cite_ref-83) Quoted in Des Cars, Laurence (/wiki/Laurence_des_Cars) (2000). The Pre-Raphaelites: Romance and Realism . ‘ New Horizons (/wiki/D%C3%A9couvertes_Gallimard) ’ series. Translated by Garvie, Francisca. London: Thames & Hudson. ISBN (/wiki/ISBN_(identifier)) 978-0-500-30100-5 . See also Fiona MacCarthy (2011), op. cit. ^ (#cite_ref-84) Quoted in History Today , October 2011 ^ (#cite_ref-85) History Today , loc. cit. ^ (#cite_ref-86) Saturday Book , vol. 16, 1956 ^ (#cite_ref-87) Pearson Phillips in Age of Austerity , op. cit. ^ (#cite_ref-88) Dominic Sandbrook (2005) Never Had It So Good ^ (#cite_ref-89) Sophie Parkin (2012) Colony Room Club 1948–2008: A History of Bohemian Soho ^ (#cite_ref-90) Carol Dyhouse in History Today , November 2011 ^ (#cite_ref-91) Diary, 13 February 1960, quoted in David Kynaston (2014) Modernity Britain: A Shake of the Dice, 1959–62 ^ a b Times Saturday Review , 6 November 2010 ^ (#cite_ref-93) Peter Lewis (1978) The 50s ^ (#cite_ref-94) Part of the Marple (/wiki/Agatha_Christie%27s_Marple) series, with Riley as Megan Symington. ^ (#cite_ref-95) Richard Davenport-Hines (2013) An English Affair ^ (#cite_ref-96) For example, A Book of Mediterranean Food (1950) ^ (#cite_ref-97) Cynthia Lennon (2005) John ^ (#cite_ref-98) See, for example, Sandbrook, op. cit. ^ (#cite_ref-99) Bob Hope in Telegraph Magazine , loc. cit. ^ (#cite_ref-100) And replicated by Sheridan Smith (/wiki/Sheridan_Smith) in the ITV biographical film, Cilla (/wiki/Cilla_(2014_TV_series)) (2014) ^ (#cite_ref-101) A similar style to McGowan's was adopted in the early 2010s by British Labour Party politician Rachel Reeves (/wiki/Rachel_Reeves) . ^ (#cite_ref-102) Richard Wiseman (2006) Whatever Happened to Simon Dee? ^ (#cite_ref-103) TV advertisement of 1966: Washes Whiter (BBC2, 1990) ^ (#cite_ref-104) Time , 15 April 1966 ^ (#cite_ref-105) See Times Magazine , 24 June 2006; David Moss in Antiques Trade Gazette , 27 August 2011 (number 2004) ^ (#cite_ref-106) Fiona MacCathy (2011) The Last Pre-Raphaelite ^ (#cite_ref-107) Keith Richards (2010) Life ^ (#cite_ref-108) Miller's production starred 13-year-old Anne-Marie Mallik (/wiki/Anne-Marie_Mallik) in her only known acting role. ^ (#cite_ref-109) Andrew Pixley (2006) DVD viewing notes for Adam Adamant Lives! ^ (#cite_ref-110) Simon Winchester (2011) The Alice Behind Wonderland . Alice Liddell, the inspiration for Alice's Adventures in Wonderland , was the daughter of Henry Liddell (/wiki/Henry_Liddell) , Dean of Christ Church, Oxford (/wiki/Christ_Church,_Oxford) , where Dodgson was a Fellow. ^ (#cite_ref-111) Stoffel, Stephanie Lovett (1997). Lewis Carroll and Alice . ‘ New Horizons (/wiki/D%C3%A9couvertes_Gallimard) ’ series. London: Thames & Hudson. ISBN (/wiki/ISBN_(identifier)) 978-0-500-30075-6 . ^ (#cite_ref-112) Roger Lancelyn Green (1960) in Aspects of Alice (ed. Robert Phliips, 1971) ^ (#cite_ref-113) Thomas Fensch (1968) "Alice – the First Acidhead" in Aspects of Alice , op. cit. ^ (#cite_ref-114) Waldemar Januszczak in Sunday Times Culture , 27 November 2011 ^ (#cite_ref-115) The first American branch of Laura Ashley opened in San Francisco in 1974, but had closed by the time a shop opened in New York in 1981 (Laura Ashley products having been sold in Bloomingdales (/wiki/Bloomingdales) and Macy's (/wiki/Macy%27s) department stores for some years): Anne Sebba (1990) Laura Ashley: a Life By Design ^ (#cite_ref-116) Sebba, op. cit. ^ (#cite_ref-117) Nick Souter & Auart Newman (1987) The Postter Handbook ^ (#cite_ref-118) In 2013 The Oldie (/wiki/The_Oldie) published a cartoon depicting women suffragettes (/wiki/Suffragettes) of the early 20th century with the caption "... but I'm not sure about this proposal to burn our whalebone (/wiki/Whalebone) corsets" ( Oldie , February 2013). A pragmatic 21st-century view was that "feminism is not about burning your bra in the street. It is about [among other things] women getting up in the morning and leaving the house to go to a job that pays them an actual wage ..." (Laura Smith, letter in Metro , 30 October 2012). ^ (#cite_ref-119) Susan Sweetser, quoted in Oxford Dictionary of Humorous Quotations (5th edition, ed. Gyles Brandreth, 2013) 119: 13 ^ (#cite_ref-120) Interview with Rachel Sylvester & Alice Thomson, The Times , 2 March 2013. ^ (#cite_ref-121) The Times , 26 July 1999 ^ (#cite_ref-122) The Times Knowledge , 24 June 2006 ^ (#cite_ref-123) Photographs for album, Since Yesterday (1984) ^ (#cite_ref-124) Lichfield (1981) The Most Beautiful Women . See http://www.blackbookmag.com/article/guccis-cruise-wear-for-earth-mamas/3399 (http://www.blackbookmag.com/article/guccis-cruise-wear-for-earth-mamas/3399) ^ (#cite_ref-125) Richard Neville (1995) Hippie Hippie Shake ^ (#cite_ref-126) Stacey, Danielle (12 April 2016). "Kate Middleton wears AW15 Anna Sui as she changes into a floaty maxi dress for National Park visit" (https://www.mirror.co.uk/3am/style/celebrity-fashion/kate-middleton-wears-aw15-anna-7740620) . Mirror . Retrieved 3 November 2016 . ^ (#cite_ref-:5_127-0) Kathrin Hartmann (25 June 2010), Ende der Märchenstunde: Wie die Industrie die Lohas und Lifestyle-Ökos vereinnahmt (books.google.com) (in German), Karl Blessing Verlag, ISBN (/wiki/ISBN_(identifier)) 978-3-641-03632-4 , retrieved 27 September 2015 ^ (#cite_ref-128) Dirk Maxeiner; Michael Miersch (13 October 2014), Alles grün und gut? Eine Bilanz des ökologischen Denkens (books.google.com) (in German), Albrecht Knaus Verlag, ISBN (/wiki/ISBN_(identifier)) 978-3-641-14310-7 , retrieved 27 September 2015 (All green and well now? A balance sheet of ecological thinking) The Quote is used in a section of chapter 6 and attributed to Rutschky, he (no direct reference found in the Book) used it in a FAZ review of Sven Reichardts Suhrkamp volume Authentizität und Gemeinschaft ^ (#cite_ref-:6_129-0) Brenda Strohmaier (2 October 2014), Wie man lernt, Berliner zu sein: Die deutsche Hauptstadt als konjunktiver Erfahrungsraum Campus Verlag 2014, p.166, footnote 150 (books.google.com) (in German), Campus Verlag, ISBN (/wiki/ISBN_(identifier)) 978-3-593-50184-0 , retrieved 27 September 2015 ^ a b Karin Kaudelka; Gerhard Kilger (31 March 2014), Eigenverantwortlich und leistungsfähig: Das selbständige Individuum in der sich wandelnden Arbeitswelt (books.google.com) (in German), transcript Verlag, ISBN (/wiki/ISBN_(identifier)) 978-3-8394-2588-6 , retrieved 27 September 2015 ^ (#cite_ref-:3_131-0) Jörg Albrecht (Leipzig) (2 October 2014), Martina Löw (ed.), "Vom "Kohlrabiapostel" zum "Bionade-Biedermeier" (https://books.google.com/books?id=9JkCBQAAQBAJ) " (https://books.google.com/books?id=9JkCBQAAQBAJ) (books.google.com) , Vielfalt und Zusammenhalt: Verhandlungen des 36. Kongresses der Deutschen Gesellschaft für Soziologie in Bochum und Dortmund 2012, Teil 1 Campus Verlag, 2014 (in German), Campus Verlag, ISBN (/wiki/ISBN_(identifier)) 978-3-593-50082-9 , retrieved 27 September 2015 v t e Fashion (/wiki/Fashion) articles Index of fashion articles (/wiki/Index_of_fashion_articles) General Environmental impact of fashion (/wiki/Environmental_impact_of_fashion) Fashion accessory (/wiki/Fashion_accessory) Fashion design (/wiki/Fashion_design) Fashion design copyright (/wiki/Fashion_design_copyright) Fashion matrix (/wiki/Fashion_matrix) Fashion museum (/wiki/Fashion_museum) Fashion plate (/wiki/Fashion_plate) Fashion tourism (/wiki/Fashion_tourism) Semiotics of fashion (/wiki/Semiotics_of_fashion) History (/wiki/History_of_fashion_design) History of clothing and textiles (/wiki/History_of_clothing_and_textiles) History of Western fashion (/wiki/History_of_Western_fashion) History of fashion design (/wiki/History_of_fashion_design) Timeline of clothing and 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(/wiki/Fast_fashion_in_China) Red carpet fashion (/wiki/Red_carpet_fashion) Social media in the fashion industry (/wiki/Social_media_in_the_fashion_industry) Sweatshop (/wiki/Sweatshop) Trickle-up fashion (/wiki/Trickle-up_fashion) Traditional clothing Ceremonial (/wiki/Ceremonial_dress) Court (/wiki/Court_dress) Diplomatic (/wiki/Diplomatic_uniform) Academic (/wiki/Academic_dress) Military (/wiki/Military_uniform) Full (/wiki/Full_dress_uniform) Mess (/wiki/Mess_dress_uniform) Service (/wiki/Service_dress_uniform) Sailor (/wiki/Sailor_suit) Combat (/wiki/Combat_uniform) Folk (/wiki/Folk_costume) Western dress codes (/wiki/Western_dress_codes) Formal (/wiki/Formal_wear) Morning dress (/wiki/Morning_dress) White tie (/wiki/White_tie) Ball gown (/wiki/Ball_gown) Semi-formal (/wiki/Semi-formal_wear) Black lounge suit (/wiki/Black_lounge_suit) Black tie (/wiki/Black_tie) Evening gown (/wiki/Evening_gown) Informal (/wiki/Informal_wear) Suit (/wiki/Suit) Cocktail dress (/wiki/Cocktail_dress) 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Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Bohemian_style&oldid=1226995303 (https://en.wikipedia.org/w/index.php?title=Bohemian_style&oldid=1226995303) " Categories (/wiki/Help:Category) : Fashion aesthetics (/wiki/Category:Fashion_aesthetics) Underground culture (/wiki/Category:Underground_culture) 19th-century fashion (/wiki/Category:19th-century_fashion) 20th-century fashion (/wiki/Category:20th-century_fashion) 1960s fashion (/wiki/Category:1960s_fashion) 1970s fashion (/wiki/Category:1970s_fashion) 2000s fashion (/wiki/Category:2000s_fashion) Bohemianism (/wiki/Category:Bohemianism) Hidden categories: CS1 German-language sources (de) (/wiki/Category:CS1_German-language_sources_(de)) Articles with short description (/wiki/Category:Articles_with_short_description) Short description is different from Wikidata (/wiki/Category:Short_description_is_different_from_Wikidata) EngvarB from September 2013 (/wiki/Category:EngvarB_from_September_2013) Use dmy dates from October 2020 (/wiki/Category:Use_dmy_dates_from_October_2020) Articles needing additional references from September 2023 (/wiki/Category:Articles_needing_additional_references_from_September_2023) All articles needing additional references (/wiki/Category:All_articles_needing_additional_references) |
Style of hat or headwear This article needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Whoopee_cap) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed. Find sources: "Whoopee cap" (https://www.google.com/search?as_eq=wikipedia&q=%22Whoopee+cap%22) – news (https://www.google.com/search?tbm=nws&q=%22Whoopee+cap%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Whoopee+cap%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Whoopee+cap%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Whoopee+cap%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Whoopee+cap%22&acc=on&wc=on) ( August 2017 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) George Lindsey (/wiki/George_Lindsey) as Goober Pyle (/wiki/Goober_Pyle) wearing a typical whoopee cap A whoopee cap is a style of headwear popular among youths in the mid-20th century in the United States. It was often made from a man's felt fedora (/wiki/Fedora) hat with the brim trimmed with a scalloped cut and turned up. In the 1920s (/wiki/1920s) and 1930s (/wiki/1930s) , such caps usually indicated the wearer was a mechanic. [1] (#cite_note-1) The headwear can often be seen worn in the films of the Dead End Kids (/wiki/Dead_End_Kids) . It is also referred to as a Jughead hat (so named after comic book character Jughead Jones (/wiki/Jughead_Jones) , for whom such a hat was a trademark), palookaville cap, devils cap, clubhouse hat, dink cap, rat cap, or Kingpin. Fashion portal (/wiki/Portal:Fashion) References [ edit ] ^ (#cite_ref-1) Jughead and Friends Digest Magazine . Archie Comic Publications, Inc. February 2008. v t e Hats (/wiki/Hat) and caps (/wiki/Cap) List of hat styles (/wiki/List_of_hat_styles) Western (/wiki/Western_culture) culture (/wiki/Western_culture) Formal (/wiki/Formal_wear) Cartwheel (/wiki/Cartwheel_hat) Cloche (/wiki/Cloche_hat) Cocktail (/wiki/Cocktail_hat) Doll (/wiki/Doll_hat) Draped turban (/wiki/Draped_turban) Eugénie (/wiki/Eug%C3%A9nie_hat) Fascinator (/wiki/Fascinator) Half (/wiki/Half_hat) Halo (/wiki/Halo_hat) Juliet (/wiki/Juliet_cap) Mushroom (/wiki/Mushroom_hat) Lampshade (/wiki/Lampshade_hat) Picture (/wiki/Picture_hat) Peach (/wiki/Peach_basket_hat) Pillbox (/wiki/Pillbox_hat) Tam (/wiki/Tam_cap) Top (/wiki/Top_hat) Opera (/wiki/Opera_hat) Semi-formal (/wiki/Semi-formal_wear) Homburg (/wiki/Homburg_hat) Anthony Eden (/wiki/Anthony_Eden_hat) Boater (/wiki/Boater) Bowler (/wiki/Bowler_hat) Buntal (/wiki/Buntal_hat) Informal (/wiki/Informal_wear) Cabbage-tree (/wiki/Cabbage-tree_hat) Chupalla (/wiki/Chupalla) Fedora (/wiki/Fedora) Trilby (/wiki/Trilby) Flat (/wiki/Flat_cap) Coppola (/wiki/Coppola_cap) Newsboy (/wiki/Newsboy_cap) Panama (/wiki/Panama_hat) Pork pie (/wiki/Pork_pie_hat) Smoking (/wiki/Smoking_cap) Wideawake (/wiki/Wideawake_hat) Uniforms (/wiki/Uniform) Aviator (/wiki/Aviator_hat) Bearskin (/wiki/Bearskin) Bell-boy hat (/wiki/Bell-boy_hat) Bicorne (/wiki/Bicorne) Black (/wiki/Black_cap) Boonie (/wiki/Boonie_hat) Budenovka (/wiki/Budenovka) Busby (/wiki/Busby_(military_headdress)) Campaign (/wiki/Campaign_hat) Cap comforter (/wiki/Cap_comforter) Cappello Alpino (/wiki/Cappello_Alpino) Casquette d'Afrique (/wiki/Casquette_d%27Afrique) Caubeen (/wiki/Caubeen) Cavalry Stetson (/wiki/Cavalry_Stetson) Czapka (/wiki/Czapka) Doctoral (/wiki/Doctoral_hat) Feather bonnet (/wiki/Feather_bonnet) Forage (/wiki/Forage_cap) Karvalakki (/wiki/Karvalakki) Fur wedge (/wiki/Fur_wedge_cap) Hardee (/wiki/Hardee_hat) Jeep (/wiki/Jeep_cap) Kepi (/wiki/Kepi) Mazepynka (/wiki/Mazepynka) Nurse's (/wiki/Nurse%27s_cap) Maintenance (/wiki/Cap_of_maintenance) / Chapeau (/wiki/Chapeau) Military beret (/wiki/Military_beret) / Uniform beret (/wiki/Uniform_beret) Black (/wiki/Black_beret) Blue (/wiki/Blue_beret) Green (/wiki/Green_beret) Maroon (/wiki/Maroon_beret) Red (/wiki/Red_beret) Tan (/wiki/Tan_beret) Patrol (/wiki/Patrol_cap) Peaked (/wiki/Peaked_cap) Mariner's (/wiki/Mariner%27s_cap) Sailor (/wiki/Sailor_cap) Printer's (/wiki/Printer%27s_hat) Rogatywka (/wiki/Rogatywka) Shako (/wiki/Shako) Side (/wiki/Side_cap) Titovka (/wiki/Titovka_(cap)) Triglavka (/wiki/Triglavka) Ski (/wiki/Ski_cap) Slouch (/wiki/Slouch_hat) Sou'wester (/wiki/Sou%27wester) Student (/wiki/Student_cap) Faluche (/wiki/Faluche) Square academic (/wiki/Square_academic_cap) Tricorne (/wiki/Tricorne) Utility cover (/wiki/Utility_cover) Religious (/wiki/Religious_clothing) Christian (/wiki/Christian_clothing) Western (/wiki/Western_Christianity) Biretta (/wiki/Biretta) Canterbury (/wiki/Canterbury_cap) Camauro (/wiki/Camauro) Capirote (/wiki/Capirote) Cappello romano (/wiki/Cappello_romano) Capuchon (/wiki/Capuchon) Christening cap (/wiki/Christening_cap) Galero (/wiki/Galero) Head covering for Christian women (/wiki/Head_covering_for_Christian_women) Easter bonnet (/wiki/Easter_bonnet) Mantilla (/wiki/Mantilla) Wimple (/wiki/Wimple) Mitre (/wiki/Mitre) Papal tiara (/wiki/Papal_tiara) Pilgrim's (/wiki/Pilgrim%27s_hat) Salvation Army bonnet (/wiki/Salvation_Army_bonnet) Shovel (/wiki/Shovel_hat) Zucchetto (/wiki/Zucchetto) Eastern (/wiki/Eastern_Christianity) Klobuk (/wiki/Klobuk) Epanokalimavkion (/wiki/Epanokalimavkion) Kalimavkion (/wiki/Kalimavkion) Koukoulion (/wiki/Koukoulion) Skufia (/wiki/Skufia) Jewish (/wiki/Jewish_religious_clothing) Jewish (/wiki/Jewish_hat) Kashket (/wiki/Kashket) Kippah (/wiki/Kippah) Kolpik (/wiki/Kolpik) Spodik (/wiki/Spodik) Shtreimel (/wiki/Shtreimel) Casual (/wiki/Casual_wear) Animal (/wiki/Animal_hat) Ascot (/wiki/Ascot_cap) Barretina (/wiki/Barretina) Beanie (/wiki/Beanie_(seamed_cap)) Beret (/wiki/Beret) Bobble (/wiki/Bobble_hat) Breton (/wiki/Breton_(hat)) Bucket (/wiki/Bucket_hat) Chilote (/wiki/Chilote_cap) Cowboy (/wiki/Cowboy_hat) Boss of the Plains (/wiki/Boss_of_the_Plains) Fruit (/wiki/Fruit_hat) Knit (/wiki/Knit_cap) Monmouth (/wiki/Monmouth_cap) Party (/wiki/Party_hat) Shower (/wiki/Shower_cap) Tin foil (/wiki/Tin_foil_hat) Umbrella (/wiki/Umbrella_hat) Whoopee Sports Cricket (/wiki/Cricket_cap) Baggy green (/wiki/Baggy_green) Balaclava (/wiki/Balaclava_(clothing)) Facekini (/wiki/Facekini) Baseball (/wiki/Baseball_cap) Trucker (/wiki/Trucker_hat) Bicycle clip (/wiki/Bicycle_clip_hat) Casquette (/wiki/Casquette) Deerstalker (/wiki/Deerstalker) Horse racing (/wiki/Jockey%27s_cap) Mounteere (/wiki/Mounteere_cap) Rally (/wiki/Rally_cap) Sports visor (/wiki/Sports_visor) Green eyeshade (/wiki/Green_eyeshade) Stormy Kromer (/wiki/Stormy_Kromer_cap) Swimming (/wiki/Swim_cap) Water polo (/wiki/Water_polo_cap) Historical (/wiki/History_of_Western_fashion) Attifet (/wiki/Attifet) Apex (/wiki/Apex_(headdress)) Beaver (/wiki/Beaver_hat) Bergère (/wiki/Berg%C3%A8re_hat) Boudoir (/wiki/Boudoir_cap) Boyar (/wiki/Boyar_hat) Bycocket (/wiki/Bycocket) Capotain (/wiki/Capotain) Cavalier (/wiki/Cavalier_hat) Coal scuttle bonnet (/wiki/Coal_scuttle_bonnet) Coif (/wiki/Coif) Dolly Varden (/wiki/Dolly_Varden_(costume)) Dunce (/wiki/Dunce_cap) Fontange (/wiki/Fontange) French hood (/wiki/French_hood) Phrygian (/wiki/Phrygian_cap) Hennin (/wiki/Hennin) Kausia (/wiki/Kausia) Kokoshnik (/wiki/Kokoshnik) Miner's (/wiki/Miner%27s_cap) Mob (/wiki/Mobcap) Modius (/wiki/Modius_(headdress)) Pamela (/wiki/Pamela_hat) Petasos (/wiki/Petasos) Pileus (/wiki/Pileus_(hat)) Poke bonnet (/wiki/Poke_bonnet) Pudding (/wiki/Baby_bumper_headguard_cap) Toque (/wiki/Toque) Witch (/wiki/Witch_hat) Gediminas' Cap (/wiki/Gediminas%27_Cap) Folk (/wiki/Folk_costume) Arakhchin (/wiki/Arakhchin) Asian conical (/wiki/Asian_conical_hat) Aso Oke (/wiki/Aso_Oke_hat) Astrakhan (hat) (/wiki/Canadian_military_fur_wedge_cap) Ayam (/wiki/Ayam_(cap)) Balmoral bonnet (/wiki/Balmoral_bonnet) Bell-boy (/wiki/Bell-boy_hat) Beonggeoji (/wiki/Beonggeoji) Bhadgaunle Topi (/wiki/Bhadgaunle_Topi) Birke topi (/wiki/Birke_topi) Blangkon (/wiki/Blangkon) Blue bonnet (/wiki/Blue_bonnet_(hat)) Chapan (/wiki/Chapan) Chullo (/wiki/Chullo) Coloured (/wiki/Coloured_hat) Coonskin (/wiki/Coonskin_cap) Cork (/wiki/Cork_hat) Dhaka topi (/wiki/Dhaka_topi) Doppa (/wiki/Doppa) Dutch (/wiki/Dutch_cap) Energy dome (/wiki/Energy_dome) Fez (/wiki/Fez_(hat)) Four Winds (/wiki/Four_Winds_hat) Fujin (/wiki/Fujin_(headgear)) Fulani (/wiki/Fulani_hat) Futou (/wiki/Futou) Gandhi (/wiki/Gandhi_cap) Gat (/wiki/Gat_(hat)) Glengarry (/wiki/Glengarry) Icelandic tail (/wiki/Icelandic_tail-cap) Jaapi (/wiki/Jaapi) Jeongjagwan (/wiki/Jeongjagwan) Jobawi (/wiki/Jobawi) Kalpak (/wiki/Kalpak) Karakul (/wiki/Karakul_(hat)) Kasa (/wiki/Kasa_(hat)) Kashket (/wiki/Kashket) Keffiyeh 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Dress codes among Christian worshippers Part of a series (/wiki/Category:Christianity) on Christianity (/wiki/Christianity) Jesus (/wiki/Jesus_in_Christianity) Christ (/wiki/Christ_(title)) Nativity (/wiki/Nativity_of_Jesus) Baptism (/wiki/Baptism_of_Jesus) Ministry (/wiki/Ministry_of_Jesus) Crucifixion (/wiki/Crucifixion_of_Jesus) Resurrection (/wiki/Resurrection_of_Jesus) Ascension (/wiki/Ascension_of_Jesus) Bible (/wiki/Bible) Foundations Old Testament (/wiki/Old_Testament) New Testament (/wiki/New_Testament) Gospel (/wiki/Gospel) Canon (/wiki/Biblical_canon) Church (/wiki/Christian_Church) Creed (/wiki/Creed) New Covenant (/wiki/New_Covenant) Theology (/wiki/Christian_theology) God (/wiki/God_in_Christianity) Trinity (/wiki/Trinity) Father (/wiki/God_the_Father_(Christianity)) Son (/wiki/Son_of_God_(Christianity)) Holy Spirit (/wiki/Holy_Spirit_in_Christianity) Apologetics (/wiki/Christian_apologetics) Baptism (/wiki/Baptism) Christology (/wiki/Christology) History of theology (/wiki/History_of_Christian_theology) Mission (/wiki/Christian_mission) Salvation (/wiki/Salvation_in_Christianity) Universalism (/wiki/Christian_universalism) History (/wiki/History_of_Christianity) Tradition (/wiki/Christian_tradition) Apostles (/wiki/Apostles_in_the_New_Testament) Peter (/wiki/Saint_Peter) Paul (/wiki/Paul_the_Apostle) Mary (/wiki/Mary,_mother_of_Jesus) Early Christianity (/wiki/Early_Christianity) Church Fathers (/wiki/Church_Fathers) Constantine (/wiki/Constantine_the_Great) Councils (/wiki/Ecumenical_council) Augustine (/wiki/Augustine_of_Hippo) Ignatius (/wiki/Ignatius_of_Antioch) East–West Schism (/wiki/East%E2%80%93West_Schism) Crusades (/wiki/Crusades) Aquinas (/wiki/Thomas_Aquinas) Reformation (/wiki/Reformation) Luther (/wiki/Martin_Luther) Denominations (/wiki/Christian_denomination) (full list) (/wiki/List_of_Christian_denominations) Nicene (/wiki/Nicene_Christianity) Catholic (/wiki/Catholic_Church) Latin (/wiki/Latin_Church) Eastern (/wiki/Eastern_Catholic_Churches) Old Catholic (/wiki/Old_Catholic_Church) Independent Catholic (/wiki/Independent_Catholicism) Eastern Orthodox (/wiki/Eastern_Orthodoxy) Oriental Orthodox (/wiki/Oriental_Orthodoxy) Church of the East (/wiki/Church_of_the_East) Protestant (/wiki/Protestantism) Adventist (/wiki/Adventism) Anabaptist (/wiki/Anabaptism) Anglican (/wiki/Anglicanism) Baptist (/wiki/Baptists) Free Evangelical (/wiki/Evangelicalism) Lutheran (/wiki/Lutheranism) Methodist (/wiki/Methodism) Moravian [Hussite] (/wiki/Moravian_Church) Pentecostal (/wiki/Pentecostalism) Plymouth Brethren (/wiki/Plymouth_Brethren) Quaker (/wiki/Quakers) Reformed (/wiki/Reformed_Christianity) United Protestant (/wiki/United_and_uniting_churches) Waldensian (/wiki/Waldensians) Nondenominational Christianity (/wiki/Nondenominational_Christianity) Restorationist (/wiki/Restorationism) Christadelphians (/wiki/Christadelphians) Iglesia ni Cristo (/wiki/Iglesia_ni_Cristo) Irvingians (/wiki/Catholic_Apostolic_Church) Jehovah's Witnesses (/wiki/Jehovah%27s_Witnesses) Latter Day Saints (/wiki/Latter_Day_Saint_movement) Members Church of God International (/wiki/Members_Church_of_God_International) The Church of Jesus Christ of Latter-day Saints (/wiki/The_Church_of_Jesus_Christ_of_Latter-day_Saints) The New Church (Swedenborgian) (/wiki/The_New_Church_(Swedenborgian)) Unitarians and Universalists (/wiki/List_of_Unitarian,_Universalist,_and_Unitarian_Universalist_churches) Related topics Civilization (/wiki/Role_of_Christianity_in_civilization) Criticism (/wiki/Criticism_of_Christianity) Culture (/wiki/Christian_culture) Ecumenism (/wiki/Ecumenism) Glossary (/wiki/Glossary_of_Christianity) Index (/wiki/Index_of_Christianity-related_articles) Liturgy (/wiki/Christian_liturgy) Other religions (/wiki/Christianity_and_other_religions) Outline (/wiki/Outline_of_Christianity) Prayer (/wiki/Christian_prayer) Sermon (/wiki/Sermon) Symbolism (/wiki/Christian_symbolism) Worship (/wiki/Christian_worship) Glossary (/wiki/Glossary_of_Christianity) Index (/wiki/Index_of_Christianity-related_articles) Outline (/wiki/Outline_of_Christianity) Christianity portal (/wiki/Portal:Christianity) v t e Many Christians (/wiki/Christians) have followed certain dress codes (/wiki/Dress_code) during attendance at church. Customs have varied over time and among different Christian denominations (/wiki/Christian_denominations) . As with the Bible (/wiki/Bible) , the Church Fathers (/wiki/Church_Fathers) of Christianity taught modesty (/wiki/Modesty) as a core principle guiding the clothing that Christians are to manufacture and wear. [1] (#cite_note-1) Clothing worn during religious services [ edit ] Christian headcovering (/wiki/Christian_headcovering) and modesty (/wiki/Modesty) being practiced in a Restored Reformed Church (/wiki/Restored_Reformed_Church) in Doornspijk (/wiki/Doornspijk) , Holland In some Christian communities, the term "Sunday best" refers to the tradition of saving one's finest clothing for Sunday (/wiki/Sunday) services. In some communities, churches served as the main social center for local residents. As such, dressing in fine clothing for religious services was often dictated by a need to project status and influence among peers. [2] (#cite_note-2) Many Christians reject this practice and instead encourage modest, respectful dress not only for Sunday worship, but in everyday life (cf. outward holiness (/wiki/Outward_holiness) ). [3] (#cite_note-3) For example, Methodists in the conservative holiness movement (/wiki/Conservative_holiness_movement) teach with respect to modesty (/wiki/Modesty) that before the fall of man (/wiki/Fall_of_man) , "Nakedness was 'very good' from the beginning, but its innocence was corrupted by the fall", a concept taught in Genesis 1:31 (https://en.wikisource.org/wiki/Bible_(King_James)/Genesis#1:31) and Genesis 2:25 (https://en.wikisource.org/wiki/Bible_(King_James)/Genesis#2:25) . [4] (#cite_note-Arnold2022-4) Genesis 3:8–10 (https://en.wikisource.org/wiki/Bible_(King_James)/Genesis#3:8) and Revelation 16:15 (https://en.wikisource.org/wiki/Bible_(King_James)/Revelation#16:15) teach that after the fall of man, "publicly exposed nakedness is a symbol of the shame of sin." [4] (#cite_note-Arnold2022-4) In Genesis 3:7 (https://en.wikisource.org/wiki/Bible_(King_James)/Genesis#3:7) , Adam and Eve (/wiki/Adam_and_Eve) tried to cover their nakedness, though their attempt was inadequate for God; this, according to Holiness Methodist theology, reflects the tendency in humans to "invent inadequate coverings for our nakedness." [4] (#cite_note-Arnold2022-4) Genesis 3:21 (https://en.wikisource.org/wiki/Bible_(King_James)/Genesis#3:21) and Revelation 3:18 (https://en.wikisource.org/wiki/Bible_(King_James)/Revelation#3:18) teach that Jehovah properly clothed humans and that a "fully-clothed person is a God-ordained symbol of the full clothing of Christ's righteousness." [4] (#cite_note-Arnold2022-4) Exodus 20:26 (https://en.wikisource.org/wiki/Bible_(King_James)/Exodus#20:26) and Exodus 28:42–43 (https://en.wikisource.org/wiki/Bible_(King_James)/Exodus#28:42) teach that nakedness is inclusive of anything that includes the torso and thighs; as such Christians of the Holiness Methodist tradition wear pants or dresses that go beyond the knees, as well as shirts that do not expose the underarms. [4] (#cite_note-Arnold2022-4) Conservative Anabaptist denominations, such as the Dunkard Brethren Church (/wiki/Dunkard_Brethren_Church) , observe the wearing of plain dress (/wiki/Plain_dress) , because Jesus (/wiki/Jesus) “condemned anxious thought for raiment” in Matthew 6:25–33 (https://en.wikisource.org/wiki/Bible_(King_James)/Matthew#6:25) and Luke 12:22–31 (https://en.wikisource.org/wiki/Bible_(King_James)/Luke#12:22) . [5] (#cite_note-Winger1919-5) They teach that the wearing of plain dress is scripturally commanded in 1 Timothy 2:9–10 (https://en.wikisource.org/wiki/Bible_(King_James)/1_Timothy#2:9) , 1 Peter 3:3–5 (https://en.wikisource.org/wiki/Bible_(King_James)/1_Peter#3:3) , and 1 Corinthians 11:5–6 (https://en.wikisource.org/wiki/Bible_(King_James)/1_Corinthians#11:5) , [5] (#cite_note-Winger1919-5) in addition to being taught by the early Church Fathers (/wiki/Early_Church_Fathers) . [5] (#cite_note-Winger1919-5) Indeed, in the early Christian manual Paedagogus (/wiki/Paedagogus) , the injunction for clothing to extend past the knees was enjoined. [6] (#cite_note-Steinberg2020-6) With the adjective kosmios (κόσμιος) meaning "modest", 1 Timothy 2:9–10 (https://en.wikisource.org/wiki/Bible_(King_James)/1_Timothy#2:9) uses the Greek word catastola katastolé (καταστολῇ) for the apparel suitable for Christian females, and for this reason, women belonging to Conservative Anabaptist denominations often wear a cape dress (/wiki/Cape_dress) with a headcovering (/wiki/Christian_headcovering) ; for example, ladies who are members of the Charity Christian Fellowship (/wiki/Charity_Christian_Fellowship) wear the cape dress with an opaque hanging veil (/wiki/Hanging_veil) as the denomination teaches that "the sisters are to wear a double layered garment as the Greek word 'catastola' describes." [7] (#cite_note-Scott1996-7) Many Christian traditions encourage or require adherents to don clothing of religious significance during church services (and in the public), such as a headcovering (/wiki/Christian_headcovering) , a practice enjoined by Paul (/wiki/Saint_Paul) in the Bible (/wiki/Bible) ( 1 Corinthians 11:2–6 (https://en.wikisource.org/wiki/Bible_(King_James)/1_Corinthians#11:2) ). [8] (#cite_note-Bercot1992-8) [9] (#cite_note-9) [10] (#cite_note-10) As such, the wearing of headcoverings by women, continually, is enjoined in Anabaptist Christian (/wiki/Anabaptist_Christian) denominations, as well while attending services in some Reformed (/wiki/Calvinism) , Plymouth Brethren (/wiki/Plymouth_Brethren) , Oriental Orthodox (/wiki/Oriental_Orthodox) and Eastern Orthodox (/wiki/Eastern_Orthodox_Church) communities. [11] (#cite_note-11) [12] (#cite_note-Murray1992-12) Some Catholic, Lutheran, Anglican, Methodist and non-denominational Christian women also choose to cover their heads for worship. [13] (#cite_note-13) [14] (#cite_note-14) Some Christian holy days incorporate traditional clothing, such as the Easter bonnet (/wiki/Easter_bonnet) . Christians' clothing has, however, evolved over time, particularly following the migration of Christian population to distant lands during the Age of Enlightenment (/wiki/Age_of_Enlightenment) . This was caused by the interactions of the Christians with natives, as many families attempted to integrate with the societies they were living in. In recent decades, some churches have encouraged a more informal dress code. Among the first to adopt this policy were the Calvary Chapel (/wiki/Calvary_Chapel) associated churches. [15] (#cite_note-15) Many clergy (/wiki/Clergy) members, especially those in denominations and religious groups formed in the 20th century, have abandoned the traditional robes and vestments in favor of business casual (/wiki/Business_casual) clothing. This change was made to close the perceived gap between the clergy and laypersons (/wiki/Lay_preacher) . Some even wear jeans (/wiki/Jeans) and other everyday casual wear (/wiki/Casual_wear) if the members have chosen to dress casual as well. Though a small minority, Christian naturists (/wiki/Christian_naturism) take this one step further, and wear no clothing at all, which they see as "God's design". [ citation needed ] See also [ edit ] Religious clothing (/wiki/Religious_clothing) – including further information on Christian religious clothing References [ edit ] ^ (#cite_ref-1) "Clothing" (http://www.earlychristiancommentary.com/early-christian-dictionary/clothing/) . Early Christian Commentary . Retrieved 24 February 2023 . ^ (#cite_ref-2) "The Origin of Dressing Up for Church" (http://www.truthaccordingtoscripture.com/documents/church-practice/dressing-up/dressing-up-for-church.php#.Vp6SRvkrKUm) . 8 December 2014. ^ (#cite_ref-3) "What Should We Wear to Worship?" (http://www.radicallychristian.com/what-should-we-wear-to-worship) , Radically Christian, 27 May 2015. ^ Jump up to: a b c d e Arnold, Johnathan (21 January 2022). "A Simple Outline for Teaching on Modest Clothing" (https://holyjoys.org/outline-modest-clothing) . Holy Joys . Retrieved 24 January 2022 . ^ Jump up to: a b c Winger, Otho (1919). History and Doctrines of the Church of the Brethren . Brethren Publishing House. p. 218. I. We examined prayerfully the scriptural grounds of Christian attire, and found that Jesus and the apostles taught modesty and simplicity of life and modesty in dress and manners. The scriptures bearing on the subject of dress and adornment are of several classes: First. Jesus condemned anxious thought for raiment (Matt. 6: 25-33; Luke 12:22-31). Second. The direct teachings, such as 1 Tim. 2:9, 10; 1 Peter 3:3-5. Third. Teachings on nonconformity to the world in general, and that apply to dress on general principles, such as Romans 12:1, 2; 1 Cor. 10:31; 1 Peter 1:14-15; 1 John 2:15-17. II. Investigation shows that the early church fathers and our own church fathers taught strongly and uniformly against pride and superfluity in dress, and constantly in favor of gospel plainness. ^ (#cite_ref-Steinberg2020_6-0) Steinberg, Aliza (7 February 2020). Weaving in Stones: Garments and Their Accessories in the Mosaic Art of Eretz Israel in Late Antiquity . Archaeopress Publishing Ltd. p. 197. ISBN (/wiki/ISBN_(identifier)) 978-1-78969-322-5 . ^ (#cite_ref-Scott1996_7-0) Scott, Stephen (1 January 1996). Introduction to Old Order and Conservative Mennonite Groups: People's Place Book No. 12 . Simon and Schuster. ISBN (/wiki/ISBN_(identifier)) 978-1-68099-243-4 . ^ (#cite_ref-Bercot1992_8-0) Bercot, David W. (1992). Common Sense: A New Approach to Understanding Scripture . Scroll Publishing Co. p. 68. ISBN (/wiki/ISBN_(identifier)) 978-0-924722-06-6 . Hippolytus, a leader in the church in Rome around the year 200, compiled a record of the various customs and practices in that church from the generations that preceded him. His Apostolic Tradition contains this statement: "And let all the women have their heads covered with an opaque cloth, not with a veil of thin linen, for this is not a true covering." This written evidence of the course of performance of the early Christians is corroborated by the archaeological record. The pictures we have from the second and third centuries from the catacombs and other places depict Christian women praying with a cloth veil on their heads. So the historical record is crystal clear. It reveals that the early generation of believers understood the head covering to be a cloth veil—not long hair. ^ (#cite_ref-9) "Veil" (http://www.earlychristiandictionary.com/Veil.html) . Early Christian Dictionary . Retrieved 7 September 2021 . ^ (#cite_ref-10) Earle, Alice Morse (1903). Two Centuries of Costume in America, Vol. 2 (1620–1820) . The Macmillan Company. p. 582. One singular thing may be noted in this history, – that with all the vagaries of fashion, woman has never violated the Biblical law that bade her cover her head. She has never gone to church services bareheaded. ^ (#cite_ref-11) "Uncovering the Head Covering Debate" (http://www.christianitytoday.com/women/2013/september/uncovering-head-covering-debate.html) . Her.meneutics . Retrieved 2016-03-08 . ^ (#cite_ref-Murray1992_12-0) Murray, John (15 January 1992). "The Use of Head Coverings in the Worship of God" (https://web.archive.org/web/20150312161900/https://presbyterianreformed.org/1992/01/use-head-coverings-worship-god/) . Presbyterian Reformed Church. Archived from the original (https://presbyterianreformed.org/1992/01/use-head-coverings-worship-god/) on 12 March 2015 . Retrieved 22 November 2021 . ^ (#cite_ref-13) Bailey, Mark (2003). Nelson's New Testament Survey: Discovering the Essence, Background & Meaning About Every New Testament Book . Thomas Nelson Inc. ISBN (/wiki/ISBN_(identifier)) 9781418540876 . ^ (#cite_ref-14) Witness Lee (August 1990). Life-Study of 1 Corinthians: Messages 48-69, 3 . pp. 470–471. ISBN (/wiki/ISBN_(identifier)) 9780870831423 . ^ (#cite_ref-15) "Calvary Chapel Core Convictions: Informal/ Relaxed Style" (https://web.archive.org/web/20160308191938/https://calvarychapel.com/resources/article/view/calvary-chapel-core-convictions-informal-relaxed-style/) . Archived from the original (https://calvarychapel.com/resources/article/view/calvary-chapel-core-convictions-informal-relaxed-style/) on 2016-03-08 . Retrieved 2016-03-08 . External links [ edit ] Clothing - Early Christian Commentary (http://www.earlychristiancommentary.com/early-christian-dictionary/clothing/) Clothing of the early Christians and Arabians of the Middle East (https://world4.eu/christian-arab-clothes) "A Business of the Cloth Finds a Surge in Demand" (https://www.nytimes.com/1996/01/28/business/a-business-of-the-cloth-finds-a-surge-in-demand.html) by Debra Nussbaum, "The New York Times", January 28, 1996, retrieved September 6, 2009. "What Would Jesus Sell?" (http://articles.latimes.com/2006/jul/21/nation/na-retail21) by Stephanie Simon, "The Los Angeles Times", July 21, 2006, retrieved January 4, 2010. v t e Fashion (/wiki/Fashion) articles Index of fashion articles (/wiki/Index_of_fashion_articles) General Environmental impact of fashion (/wiki/Environmental_impact_of_fashion) Fashion accessory (/wiki/Fashion_accessory) Fashion design (/wiki/Fashion_design) Fashion design copyright (/wiki/Fashion_design_copyright) Fashion matrix (/wiki/Fashion_matrix) Fashion museum (/wiki/Fashion_museum) Fashion plate (/wiki/Fashion_plate) Fashion tourism (/wiki/Fashion_tourism) Semiotics of fashion (/wiki/Semiotics_of_fashion) History (/wiki/History_of_fashion_design) History of clothing and textiles (/wiki/History_of_clothing_and_textiles) History of Western fashion (/wiki/History_of_Western_fashion) History of fashion design (/wiki/History_of_fashion_design) Timeline of clothing and textiles technology 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(/wiki/Bondage_pants) Capri (/wiki/Capri_pants) Cargo (/wiki/Cargo_pants) Chaps (/wiki/Chaps) Formal (/wiki/Formal_trousers) Go-to-hell (/wiki/Go-to-hell_pants) High water (/wiki/High-rise_(fashion)) Lowrise (/wiki/Low-rise_(fashion)) Jeans (/wiki/Jeans) Jodhpurs (/wiki/Jodhpurs) Overalls (/wiki/Overalls) Palazzo (/wiki/Palazzo_pants) Parachute (/wiki/Parachute_pants) Pedal pushers (/wiki/Pedal_pushers) Phat (/wiki/Phat_pants) Shorts (/wiki/Shorts) Bermuda (/wiki/Bermuda_shorts) dycling (/wiki/Cycling_shorts) dolphin (/wiki/Dolphin_shorts) gym (/wiki/Gym_shorts) hotpants (/wiki/Hotpants) running (/wiki/Running_shorts) Slim-fit (/wiki/Slim-fit_pants) Sweatpants (/wiki/Sweatpants) Windpants (/wiki/Windpants) Yoga pants (/wiki/Yoga_pants) Suits (/wiki/Suit) and uniforms (/wiki/Uniform) Ceremonial dress (/wiki/Ceremonial_dress) academic (/wiki/Academic_dress) court (/wiki/Court_dress) diplomatic (/wiki/Diplomatic_uniform) Folk (/wiki/Folk_costume) Jodhpuri (/wiki/Jodhpuri) Jumpsuit 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Steeden Sports Company type Subsidiary (/wiki/Subsidiary) Industry Sports equipment (/wiki/Sports_equipment) , textile (/wiki/Textile_industry) Founded 1958 ; 66 years ago ( 1958 ) Headquarters Victoria (/wiki/Victoria_(Australia)) , Australia (/wiki/Australia) Area served Worldwide Products rugby balls (/wiki/Rugby_ball) , protective gear (/wiki/Protective_gear_in_sports) , teamwear (/wiki/Sportswear) Parent (/wiki/Parent_company) Gray-Nicolls (/wiki/Gray-Nicolls) Website www (https://www.steeden.com.au) .steeden (https://www.steeden.com.au) .com (https://www.steeden.com.au) .au (https://www.steeden.com.au) Steeden Sports is an Australian sports equipment (/wiki/Sports_equipment) manufacturing company, mainly focused on rugby league (/wiki/Rugby_league) . The company is mostly known for its rugby league footballs (/wiki/Rugby_ball#Rugby_league) . Steeden was established in Queensland (/wiki/Queensland) in 1958, when twins Eric and Raymond Steeden opened a factory in Brisbane, Australia, producing leather cricket balls (/wiki/Cricket_ball) , rugby league balls and boxing bags (/wiki/Boxing_bag) . The company moved to New South Wales (/wiki/New_South_Wales) in the 1960s, and was acquired by British sporting goods corporation Grays International (/wiki/Grays_International) (marketed through its brand Gray-Nicolls (/wiki/Gray-Nicolls) ) in 1995. The company has a large range of rugby products that includes footballs, protective gear (/wiki/Protective_gear_in_sports) ( shoulder pads (/wiki/Shoulder_pads_(sport)) , head protectors (/wiki/Scrum_cap) ), clothing (/wiki/Clothing) ( uniforms (/wiki/Rugby_union_equipment) ), and accessories ( bags (/wiki/Bag) ). Steeden also produces netball (/wiki/Netball) uniforms. [1] (#cite_note-1) Overview [ edit ] The Steeden name has become so synonymous with rugby league in Australia that it is often used as noun to describe the ball itself. [2] (#cite_note-2) [3] (#cite_note-3) [4] (#cite_note-4) Other products Steeden produce are kicking tees, shoulder guards, bags, hit shields, boots, headgear, bibs, sock ties, whistles and water bottles. [5] (#cite_note-5) Sponsorships [ edit ] Steeden is the official ball supplier of the 2013 Rugby League World Cup (/wiki/2013_Rugby_League_World_Cup) , National Rugby League (/wiki/National_Rugby_League) (NRL), Rugby League State of Origin (/wiki/Rugby_League_State_of_Origin) , Australia Rugby League (/wiki/Australia_national_rugby_league_team) , New South Wales Rugby League (/wiki/New_South_Wales_Rugby_League) , Queensland Rugby League (/wiki/Queensland_Rugby_League) , New Zealand Rugby League (/wiki/New_Zealand_Rugby_League) , Australian Touch Association, The Betfred Super League (/wiki/Super_League) , Betfred Championship (/wiki/Championship_(rugby_league)) and the Betfred League 1 (/wiki/League_1_(rugby_league)) and many more national governing bodies around the globe. Steeden is also a partner of NRL teams Melbourne Storm, Penrith Panthers, South Sydney Rabbitohs and Wests Tigers [6] (#cite_note-6) [7] (#cite_note-7) See also [ edit ] Companies portal (/wiki/Portal:Companies) Fashion portal (/wiki/Portal:Fashion) Australia portal (/wiki/Portal:Australia) List of fitness wear brands (/wiki/List_of_fitness_wear_brands) List of sporting goods manufacturers (/wiki/List_of_sporting_goods_manufacturers) List of companies named after people (/wiki/List_of_companies_named_after_people) References [ edit ] ^ (#cite_ref-1) Products (https://steedensports.com/product-category/) on Steeden ^ (#cite_ref-2) "Berrigan gives Dogs a lesson" (https://web.archive.org/web/20040517095737/http://www.smh.com.au/cgi-bin/common/popupPrintArticle.pl?path=%2Farticles%2F2003%2F05%2F23%2F1053585708065.html) . The Sydney Morning Herald (/wiki/The_Sydney_Morning_Herald) . May 24, 2003. Archived from the original (http://www.smh.com.au/cgi-bin/common/popupPrintArticle.pl?path=/articles/2003/05/23/1053585708065.html) on May 17, 2004 . Retrieved February 24, 2009 . ^ (#cite_ref-3) Walshaw, Nick (9 May 2008). "The heartbeat propelling Finch" (http://www.news.com.au/heraldsun/sport/nrl/story/0,27074,23665983-14823,00.html) . Herald Sun (/wiki/Herald_Sun) . Retrieved 24 February 2009 . ^ (#cite_ref-4) Thurston, Johnathan (11 June 2008). "Why Prince and I will dominate" (http://www.news.com.au/heraldsun/sport/nrl/story/0,21985,23846046-14823,00.html) . Herald Sun (/wiki/Herald_Sun) . Retrieved 24 February 2009 . ^ (#cite_ref-5) "GN Sports - Home" (https://web.archive.org/web/20150925005416/http://www.gnsports.com.au/) . Archived from the original (http://www.gnsports.com.au/) on 25 September 2015 . Retrieved 29 September 2015 . ^ (#cite_ref-6) "Steeden-it's THE ball!" (https://archive.today/20131204150239/http://www.rlwc08.com/news/news/archive/2007/12/11/steeden-it-s-the-ball.aspx) . Rugby League World Cup (/wiki/Rugby_League_World_Cup) . Archived from the original (http://www.rlwc08.com/news/news/archive/2007/12/11/steeden-it-s-the-ball.aspx) on 4 December 2013 . Retrieved 24 February 2009 . ^ (#cite_ref-7) "Fiji UK agree partnership with major rugby league brand" (https://web.archive.org/web/20110722140428/http://www.hullkr.co.uk/news.php?id=1231) . Hull KR (/wiki/Hull_Kingston_Rovers) . Archived from the original (http://www.hullkr.co.uk/news.php?id=1231) on 22 July 2011 . Retrieved 24 February 2009 . External links [ edit ] Official website (https://gnsports.com/collections/steeden) v t e Sports equipment (/wiki/Sports_equipment) brands This list includes companies that produce sports equipment. List by sport include only current products manufactured Multi-sports Acerbis (/wiki/Acerbis) Adidas (/wiki/Adidas) Admiral (/wiki/Admiral_Sportswear) AFA (/wiki/AFA_Sports) Alpine Pro (/wiki/Alpine_Pro) Anta (/wiki/Anta_Sports) Arc'teryx (/wiki/Arc%27teryx) Asics (/wiki/Asics) Atletica (/wiki/Atletica) BLK (/wiki/BLK_(sportswear)) Burley-Sekem (/wiki/Burley-Sekem) Castore (/wiki/Castore) Champion (/wiki/Champion_(sportswear)) Charly (/wiki/Charly_(brand)) Classic (/wiki/Classic_Sportswear) Descente (/wiki/Descente) Diadora (/wiki/Diadora) ERKE (/wiki/ERKE) Erreà (/wiki/Erre%C3%A0) EvoShield (/wiki/EvoShield) FBT (/wiki/FBT_(company)) Fila (/wiki/Fila) Fischer (/wiki/Fischer_(company)) 4F (/wiki/4F_(company)) Garcis (/wiki/Garcis) Givova (/wiki/Givova) Grand Sport (/wiki/Grand_Sport_Group) Grays (/wiki/Grays_International) Head (/wiki/Head_(company)) Hummel (/wiki/Hummel_International) ISC (/wiki/ISC_(sportswear)) Jako (/wiki/Jako) Joma (/wiki/Joma) Kappa (/wiki/Kappa_(brand)) Kelme (/wiki/Kelme_(company)) Kookaburra (/wiki/Kookaburra_Sport) Le Coq Sportif (/wiki/Le_Coq_Sportif) Legea (/wiki/Legea) Li-Ning (/wiki/Li-Ning) Lotto (/wiki/Lotto_Sport_Italia) Luanvi (/wiki/Luanvi) Lululemon (/wiki/Lululemon_Athletica) Macron (/wiki/Macron_(sportswear)) Majestic (/wiki/Majestic_Athletic) Mikasa (/wiki/Mikasa_Sports) Mitchell & Ness (/wiki/Mitchell_%26_Ness) Mitre (/wiki/Mitre_Sports_International) Mizuno (/wiki/Mizuno_Corporation) Molten (/wiki/Molten_Corporation) Oakley (/wiki/Oakley,_Inc.) On (/wiki/On_(company)) NAAI (/wiki/NAAI) New Balance (/wiki/New_Balance) Nike (/wiki/Nike,_Inc.) 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(/wiki/Capelli_Sport) Finta (/wiki/Finta) Marathon (/wiki/Marathon_Sports) Nanque (/wiki/Nanque) Patrick (/wiki/Patrick_(sportswear_company)) Select (/wiki/Select_Sport) SIX5SIX (/wiki/SIX5SIX) Sport-Saller (/wiki/Sport-Saller) St Margaret's (/wiki/N._Corah_%26_Sons) Australian football (/wiki/Australian_rules_football) Cotton On (/wiki/Cotton_On) Sherrin (/wiki/Sherrin) Baseball (/wiki/Baseball) / softball (/wiki/Softball) DeMarini (/wiki/DeMarini) Louisville Slugger (/wiki/Hillerich_%26_Bradsby) Marucci (/wiki/Marucci_Sports) Nokona (/wiki/Nocona_Athletic_Goods_Company) Rawlings (/wiki/Rawlings_(company)) Basketball (/wiki/Basketball) AND1 (/wiki/AND1) First Ever (/wiki/First_Ever) Spalding (/wiki/Spalding_(company)) Boxing (/wiki/Boxing) Boxa (/wiki/Boxa) Everlast (/wiki/Everlast_(brand)) Lonsdale (/wiki/Lonsdale_(clothing)) Sting (/wiki/Sting_Sports) Twins Special (/wiki/Twins_Special) Cricket (/wiki/Cricket) CA (/wiki/CA_Sports) County (/wiki/Hunts_County) Dukes (/wiki/British_Cricket_Balls_Ltd) Duncan Fearnley (/wiki/Duncan_Fearnley) Gray-Nicolls (/wiki/Gray-Nicolls) Gunn & Moore (/wiki/Gunn_%26_Moore) Sanspareils Greenlands (/wiki/Sanspareils_Greenlands) Sareen (/wiki/Sareen_Sports_Industries) Stuart Surridge (/wiki/Stuart_Surridge) Cue sports (/wiki/Cue_sports) Brunswick (/wiki/Brunswick_Corporation) Parris Cues (/wiki/Parris_Cues) Riley (/wiki/Riley_(brand)) Cycling (/wiki/Cycle_sport) Bell Sports (/wiki/Bell_Sports) Castelli (/wiki/Castelli_(brand)) Giro (/wiki/Giro_(company)) Rapha (/wiki/Rapha_(sportswear)) Northwave (/wiki/Northwave) Santini SMS (/wiki/Santini_SMS) SIDI (/wiki/SIDI) Troy Lee (/wiki/Troy_Lee_Designs) Darts (/wiki/Darts) Winmau (/wiki/Winmau) Golf (/wiki/Golf) Adams (/wiki/Adams_Golf) Ashworth (/wiki/Ashworth_(clothing)) Bettinardi (/wiki/Bettinardi_Golf) Bridgestone (/wiki/Bridgestone_Golf) Callaway (/wiki/Callaway_Golf_Company) Cleveland (/wiki/Cleveland_Golf) Cobra (/wiki/Cobra_Golf) FootJoy (/wiki/FootJoy) Forgan 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Cotton grown organically from non-GM plants Organic cotton yarn Cotton (/wiki/Cotton) History (/wiki/History_of_cotton) Terminology Cash crop (/wiki/Cash_crop) Commodity (/wiki/Commodity) Cottonopolis (/wiki/Cottonopolis) Cotton Belt (/wiki/Cotton_Belt_(region)) Cotton diplomacy (/wiki/Cotton_diplomacy) King Cotton (/wiki/King_Cotton) Types (/wiki/Cotton#Types_of_cotton) Gossypium hirsutum (/wiki/Gossypium_hirsutum) Gossypium barbadense (/wiki/Gossypium_barbadense) Gossypium arboreum (/wiki/Gossypium_arboreum) Gossypium herbaceum (/wiki/Gossypium_herbaceum) Production Cotton-spinning machinery (/wiki/Cotton-spinning_machinery) Cotton gin (/wiki/Cotton_gin) Cotton mill (/wiki/Cotton_mill) Cotton picker (/wiki/Cotton_picker) Cotton recycling (/wiki/Cotton_recycling) Mercerised cotton (/wiki/Mercerised_cotton) Organic cotton Spinning jenny (/wiki/Spinning_jenny) Spinning mule (/wiki/Spinning_mule) Spinning wheel (/wiki/Spinning_wheel) Water frame (/wiki/Water_frame) Fabric Cambric (/wiki/Cambric) Chino (/wiki/Chino_cloth) Corduroy (/wiki/Corduroy) Denim (/wiki/Denim) Seersucker (/wiki/Seersucker) Terrycloth (/wiki/Terrycloth) v t e Part of a series (/wiki/Category:Clothing_and_the_environment) on Clothing and the environment Environmental impact of fashion (/wiki/Environmental_impact_of_fashion) Key issues Cotton industry (/wiki/Cotton_industry) Ecological footprint (/wiki/Ecological_footprint) Fast fashion (/wiki/Fast_fashion) Fur trade (/wiki/Fur_trade) Global trade of secondhand clothing (/wiki/Global_trade_of_secondhand_clothing) Impact investing (/wiki/Impact_investing) Microplastics (/wiki/Microplastics) Textile performance (/wiki/Textile_performance) By type Cashmere (/wiki/Cashmere_wool#Criticism_of_industry) Fur farming (/wiki/Environmental_impacts_of_fur_farming) Leather (/wiki/Environmental_impact_of_leather) Sustainability Anti-fashion (/wiki/Anti-fashion) Biodegradable athletic footwear (/wiki/Biodegradable_athletic_footwear) Circular fashion (/wiki/Circular_fashion) Clothing swap (/wiki/Clothing_swap) Cotton recycling (/wiki/Cotton_recycling) Environmental design (/wiki/Environmental_design) Environmental impact design (/wiki/Environmental_impact_design) Green textile (/wiki/Green_textile) Public interest design (/wiki/Public_interest_design) Organic cotton Reconstructed clothing (/wiki/Reconstructed_clothing) Slow fashion (/wiki/Slow_fashion) Socially responsible investing (/wiki/Socially_responsible_investing) Sustainable (/wiki/Sustainability) Advertising (/wiki/Sustainable_advertising) Design (/wiki/Sustainable_design) Fashion (/wiki/Sustainable_fashion) Industries (/wiki/Sustainable_industries) Market (/wiki/Sustainable_market) Procurement (/wiki/Sustainable_procurement) Transport (/wiki/Sustainable_transport) Textile recycling (/wiki/Textile_recycling) Sustainability of vintage fashion (/wiki/Environmental_sustainability_of_vintage_fashion) Trashion (/wiki/Trashion) Zero-waste fashion (/wiki/Zero-waste_fashion) Related Business ethics (/wiki/Business_ethics) Green marketing (/wiki/Green_marketing) RiverBlue (/wiki/RiverBlue) The True Cost (/wiki/The_True_Cost) Environmental record of Nike (/wiki/Nike,_Inc.#Environmental_record) Ecological design (/wiki/Ecological_design) Laundry wastewater (/wiki/Laundry_wastewater) Vintage clothing (/wiki/Vintage_clothing) Fashion portal (/wiki/Portal:Fashion) Environment portal (/wiki/Portal:Environment) v t e Organic cotton is generally defined as cotton (/wiki/Cotton) that is grown organically (/wiki/Organic_farming) in subtropical (/wiki/Subtropical) countries such as India (/wiki/India) , Turkey (/wiki/Turkey) , China (/wiki/China) , and parts of the USA (/wiki/United_States) from non- genetically modified (/wiki/Genetically_modified_crops) plants, and without the use of any synthetic (/wiki/Synthetic_fibers) agricultural chemicals (/wiki/Agrochemical) such as fertilizers (/wiki/Fertilizers) or pesticides (/wiki/Pesticides) [1] (#cite_note-1) aside from the ones allowed by the certified organic labeling. Its production is supposed to promote and enhance biodiversity (/wiki/Biodiversity) and biological cycles. [2] (#cite_note-2) In the United States, cotton plantations (/wiki/Cotton_plantation) must also meet the requirements enforced by the National Organic Program (/wiki/National_Organic_Program) (NOP) from the USDA (/wiki/United_States_Department_of_Agriculture) in order to be considered organic. This institution determines the allowed practices for pest control (/wiki/Pest_control) , growing, fertilizing (/wiki/Fertilizer) , and handling of organic crops. [3] (#cite_note-3) As of 2007 [update] (https://en.wikipedia.org/w/index.php?title=Organic_cotton&action=edit) , 265,517 bales of organic cotton were produced in 24 countries and worldwide production was growing at a rate of more than 50% per year. [4] (#cite_note-OTA-4) In the 2016/2017 season, annual global production reached 3.2 million metric tonnes (/wiki/Metric_tonnes) . [5] (#cite_note-5) [6] (#cite_note-6) Ecological footprint [ edit ] Further information: Environmental impact of fashion (/wiki/Environmental_impact_of_fashion) Cotton covers 2.5% of the world's cultivated land but uses 10-16% of the world's pesticides (including herbicides, insecticides, and defoliants), more than any other single major crop. [4] (#cite_note-OTA-4) [7] (#cite_note-7) Environmental consequences of the elevated use of chemicals in the non-organic cotton growing methods include the following: Chemicals used in the processing of cotton pollute the air and surface waters. Decreased biodiversity and shifting equilibrium of ecosystems due to the use of pesticides. [8] (#cite_note-8) As is the case for any comparison between organic and "conventional" crops, care must be taken to standardise by yield rather than land area. Like many crops, yields (per hectare) in organic cotton farms are typically significantly lower compared to conventional methods; [9] (#cite_note-9) this yield gap means that the water used to produce the same amount of cotton fibre can in fact be higher in organic, compared to conventional cotton cultivation. [10] (#cite_note-10) Pesticides [ edit ] If certified by the USDA, organic cotton is grown without the use of synthetic pesticides. [11] (#cite_note-11) However, organic growers are able to use a suite of organically approved pesticides, including pyrethrins (/wiki/Pyrethrin) from plant material, copper sulfate (/wiki/Copper_sulfate) as a molluscicide and fungicide, and a range of insecticidal soaps (/wiki/Insecticidal_soap) , among others. Application rates of organic pesticides can often exceed those in conventional cultivation systems due in part to the large yield deficits in organic cropping systems, [12] (#cite_note-12) and organic pesticides (/wiki/Organic_pesticide) can be at least as toxic as their conventional counterparts. [13] (#cite_note-13) By comparison, conventional cotton can be grown using a range of synthetic pesticides. [14] (#cite_note-14) Fields converted from conventional use to organic cotton must be tested to assure no residual pesticide with a transition period of 2–3 years in this process. [15] (#cite_note-15) In some cases, companies have taken to testing for pesticide residual of fiber or fabric themselves to assure cheating does not occur on the part of the farmers or farm coops. [16] (#cite_note-16) Use of insecticides, herbicides, fertilizers, and water have all declined in conventional systems as a direct result of the widespread adoption of genetically modified cotton (/wiki/Genetically_modified_cotton) , which currently accounts for over 95% of cotton grown in the U.S., India and China. [17] (#cite_note-17) Organic certification [18] (#cite_note-18) prohibits use of genetically modified (/wiki/Genetically_modified) (GM) varieties. Distribution of Organic Cotton Production [ edit ] Organic cotton farmer in Kyrgyzstan Organic cotton is only 1-2% of global cotton production (/wiki/Cotton) , and is currently being grown in many countries. The largest producers (as of 2018) are India (/wiki/India) (51%), China (/wiki/China) (19%), Turkey (/wiki/Turkey) (7%) and Kyrgyzstan (/wiki/Kyrgyzstan) (7%). [19] (#cite_note-19) Organic cotton production in Africa (/wiki/Africa) takes place in at least 8 countries. The earliest producer (1990) was the SEKEM (/wiki/SEKEM) organization in Egypt (/wiki/Egypt) ; the farmers involved later convinced the Egyptian government to convert 400,000 hectares of conventional cotton production to integrated methods, [20] (#cite_note-20) achieving a 90% reduction in the use of synthetic pesticides (/wiki/Pesticides) in Egypt and a 30% increase in yields. [21] (#cite_note-21) Various industry initiatives [22] (#cite_note-22) aim to support organic growers, and various companies, including Nike (/wiki/Nike,_Inc.) , Walmart (/wiki/Walmart) , and C&A (/wiki/C%26A) [23] (#cite_note-23) now incorporate organic cotton as part of their supply chains [24] (#cite_note-24) The United States Organic Trade Association states that the Global Organic Textile Standard (GOTS) is considered the world's leading certification of organic fibers. [25] (#cite_note-25) See also [ edit ] Fair trade (/wiki/Fair_trade) Sustainable clothing (/wiki/Sustainable_clothing) Sustainable fashion (/wiki/Sustainable_fashion) Organic clothing (/wiki/Organic_clothing) References [ edit ] ^ (#cite_ref-1) "CCVT Sustainable" (https://web.archive.org/web/20090623021024/http://www.vineyardteam.org/resources/sustainableag.php) . Archived from the original (http://www.vineyardteam.org/resources/sustainableag.php) on 2009-06-23 . Retrieved 2009-12-02 . ^ (#cite_ref-2) VineYardTeam Econ (http://www.vineyardteam.org/pdf/Econ04_ohmart.pdf) Archived (https://web.archive.org/web/20080705092431/http://www.vineyardteam.org/pdf/Econ04_ohmart.pdf) July 5, 2008, at the Wayback Machine (/wiki/Wayback_Machine) ^ (#cite_ref-3) AMSv1 (https://www.ams.usda.gov/AMSv1.0/nop) ^ Jump up to: a b "Organic Cotton Facts" (https://web.archive.org/web/20141120012942/http://www.ota.com/organic/mt/organic_cotton.html) . The Organic Trade Association . Archived from the original (http://www.ota.com/organic/mt/organic_cotton.html) on 2014-11-20 . Retrieved 2016-07-11 . ^ (#cite_ref-5) Mowbray, John (12 October 2017). "India drags on organic cotton volumes" (https://www.ecotextile.com/2017101223020/shows-events/india-drags-on-organic-cotton-volumes.html) . MCL News & Media. Ecotextile . Retrieved 11 December 2017 . ^ (#cite_ref-6) Organic Cotton Market Report 2017 (https://hk.thepetitsoldier.com/wp-content/uploads/sites/9/Organic-Cotton-Market-Report_2017.pdf) (PDF) (Report). Textile Exchange. 2017. ^ (#cite_ref-7) The Deadly Chemicals in Cotton (https://ejfoundation.org/reports/the-deadly-chemicals-in-cotton) . Environmental Justice Foundation (Report). 31 December 2007. ^ (#cite_ref-8) "Sustainable Cotton Project" (https://web.archive.org/web/20120320213154/http://www.sustainablecotton.org/html/manufacturers/approach.html) . Archived from the original (http://www.sustainablecotton.org/html/manufacturers/approach.html) on 2012-03-20 . Retrieved 2009-12-02 . ^ (#cite_ref-9) Seufert, Verena; Ramankutty, Navin; Foley, Jonathan A. (25 April 2012). "Comparing the yields of organic and conventional agriculture". Nature . 485 (7397): 229–232. doi (/wiki/Doi_(identifier)) : 10.1038/nature11069 (https://doi.org/10.1038%2Fnature11069) . PMID (/wiki/PMID_(identifier)) 22535250 (https://pubmed.ncbi.nlm.nih.gov/22535250) . S2CID (/wiki/S2CID_(identifier)) 2702124 (https://api.semanticscholar.org/CorpusID:2702124) . ^ (#cite_ref-10) Bain, Marc (28 May 2017). "Your organic cotton t-shirt might be worse for the environment than regular cotton" (https://qz.com/990178/your-organic-cotton-t-shirt-might-be-worse-for-the-environment-than-regular-cotton/) . Quartz . ^ (#cite_ref-11) Pesticide Action Network (http://www.panna.org/files/conventionalCotton.dv.html) ^ (#cite_ref-12) Forster, Dionys; Andres, Christian; Verma, Rajeev; Zundel, Christine; Messmer, Monika M.; Mäder, Paul (4 December 2013). "Yield and Economic Performance of Organic and Conventional Cotton-Based Farming Systems – Results from a Field Trial in India" (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3852008) . PLOS ONE . 8 (12): e81039. doi (/wiki/Doi_(identifier)) : 10.1371/journal.pone.0081039 (https://doi.org/10.1371%2Fjournal.pone.0081039) . PMC (/wiki/PMC_(identifier)) 3852008 (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3852008) . PMID (/wiki/PMID_(identifier)) 24324659 (https://pubmed.ncbi.nlm.nih.gov/24324659) . ^ (#cite_ref-13) Bahlai, Christine A.; Xue, Yingen; McCreary, Cara M.; Schaafsma, Arthur W.; Hallett, Rebecca H. (22 June 2010). "Choosing Organic Pesticides over Synthetic Pesticides May Not Effectively Mitigate Environmental Risk in Soybeans" (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2889831) . PLOS ONE . 5 (6): e11250. doi (/wiki/Doi_(identifier)) : 10.1371/journal.pone.0011250 (https://doi.org/10.1371%2Fjournal.pone.0011250) . PMC (/wiki/PMC_(identifier)) 2889831 (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2889831) . PMID (/wiki/PMID_(identifier)) 20582315 (https://pubmed.ncbi.nlm.nih.gov/20582315) . ^ (#cite_ref-14) "Pest Management" (http://www.organiccotton.org/oc/Organic-cotton/Agronomic-practice/Pest-management.php) . Organic Cotton . ^ (#cite_ref-15) Luppino, Rita. "Transitional Cotton Challenge" (https://textileexchange.org/transitional-cotton-challenge/) . Textile Exchange . ^ (#cite_ref-16) "Organic Transparency" (https://www.alterrapure.com/pages/transparency) . Alterra Pure . ^ (#cite_ref-17) https://www.isaaa.org/resources/publications/briefs/49/download/isaaa-brief-49-2014.pdf (https://www.isaaa.org/resources/publications/briefs/49/download/isaaa-brief-49-2014.pdf) [ full citation needed ] ^ (#cite_ref-18) "What is GOTS?" (https://www.karpasa.co.uk/blogs/news/gots-organiccotton) . ^ (#cite_ref-19) "2018 organic cotton market report" (https://textileexchange.org/downloads/2018-organic-cotton-market-report/) . Textile Exchange . Retrieved 2018-11-19 . ^ (#cite_ref-20) Organic cotton projects in Africa (http://www.pan-germany.org/download/africaprojects.pdf) ^ (#cite_ref-21) CSR case study (http://www.article13.com/A13_ContentList.asp?strAction=GetPublication&PNID=1382) Archived (https://web.archive.org/web/20080218105824/http://www.article13.com/A13_ContentList.asp?strAction=GetPublication&PNID=1382) 2008-02-18 at the Wayback Machine (/wiki/Wayback_Machine) ^ (#cite_ref-22) Sustainable Cotton (http://www.sustainablecotton.org/html/cotton.html) ^ (#cite_ref-23) "We Care: Acting Sustainably" (http://www.candacr.com/en/files/2012/04/csr-report.pdf) (PDF) . C&R. 2012 . Retrieved 7 October 2014 . ^ (#cite_ref-24) Condit, Brendan; Marquardt, Sandra (2009). "Organic Cotton Production and Markets Continue to Grow". Cotton International Magazine . p. 35. ProQuest (/wiki/ProQuest_(identifier)) 228993213 (https://search.proquest.com/docview/228993213) . ^ (#cite_ref-25) "Global Organic Textile Standard (GOTS)" (https://ota.com/advocacy/organic-standards/fiber-and-textiles/global-organic-textile-standard-gots) . OTA . Organic Trade Association. External links [ edit ] Organic cotton (https://curlie.org/Science/Agriculture/Field_Crops/Fiber_Crops/Cotton/) at Curlie (/wiki/Curlie) Global Organic Textile Standard (GOTS) (https://global-standard.org/) v t e Fibers (/wiki/Fiber) Natural (/wiki/Natural_fiber) Plant (/wiki/Fiber_crop) Abacá (/wiki/Abac%C3%A1) Bagasse (/wiki/Bagasse) Bamboo (/wiki/Bamboo_textile) Bashō (/wiki/Musa_basjoo) Coir (/wiki/Coir) Cotton (/wiki/Cotton) Fique (/wiki/Fique) Flax (/wiki/Flax) Linen (/wiki/Linen) Hemp (/wiki/Hemp) Jute (/wiki/Jute) Kapok (/wiki/Ceiba_pentandra) Kenaf (/wiki/Kenaf) Lotus silk (/wiki/Lotus_silk) Piña (/wiki/Pi%C3%B1a) Pine (/wiki/Vegetable_flannel) Raffia (/wiki/Raffia_palm) Ramie (/wiki/Ramie) Rattan (/wiki/Rattan) Sisal (/wiki/Sisal) Wood (/wiki/Wood_fibre) Animal (/wiki/Animal_fiber) Alpaca (/wiki/Alpaca_fiber) Angora (/wiki/Angora_wool) Byssus (/wiki/Byssus) Camel hair (/wiki/Camel_hair) Cashmere (/wiki/Cashmere_wool) Catgut (/wiki/Catgut) Chiengora (/wiki/Chiengora) Guanaco (/wiki/Guanaco#Guanaco_fiber) Hair (/wiki/Hair) Llama (/wiki/Llama#Fiber) Mohair (/wiki/Mohair) Pashmina (/wiki/Pashmina_(material)) Qiviut (/wiki/Qiviut) Rabbit (/wiki/Rabbit_hair) Silk (/wiki/Silk) Tendon (/wiki/Tendon) Spider silk (/wiki/Spider_silk) Wool (/wiki/Wool) Vicuña (/wiki/Vicu%C3%B1a#Vicuña_wool) Yak (/wiki/Yak_fiber) Mineral (/wiki/Mineral_fiber) Asbestos (/wiki/Asbestos) Synthetic (/wiki/Fiber#Chemical) Regenerated (/wiki/Regenerated_fiber) Artificial silk (/wiki/Artificial_silk) Milk fiber (/wiki/Milk_fiber) Semi-synthetic (/wiki/Semi-synthetic_fiber) Acetate (/wiki/Cellulose_acetate) Diacetate (/wiki/Cellulose_diacetate) Lyocell (/wiki/Lyocell) Modal (/wiki/Modal_(textile)) Rayon (/wiki/Rayon) Triacetate (/wiki/Cellulose_triacetate) Mineral (/wiki/Mineral_fiber) Glass (/wiki/Glass_fiber) Carbon (/wiki/Carbon_fibers) Basalt (/wiki/Basalt_fiber) Metallic (/wiki/Metallic_fiber) Polymer (/wiki/Fiber#Polymer_fibers) Acrylic (/wiki/Acrylic_fiber) Aramid (/wiki/Aramid) Twaron (/wiki/Twaron) Kevlar (/wiki/Kevlar) Technora (/wiki/Technora) Nomex (/wiki/Nomex) Microfiber (/wiki/Microfiber) Modacrylic (/wiki/Modacrylic) Nylon (/wiki/Nylon) Olefin (/wiki/Olefin_fiber) Polyester (/wiki/Polyester) Polyethylene (/wiki/Polyethylene) UHMWPE (/wiki/Ultra-high-molecular-weight_polyethylene) Spandex (/wiki/Spandex) Vectran (/wiki/Vectran) Vinylon (/wiki/Vinylon) Vinyon (/wiki/Vinyon) Zylon (/wiki/Zylon) Category (/wiki/Category:Fibers) Commons (https://commons.wikimedia.org/wiki/Category:Fibers) NewPP limit report Parsed by mw‐web.codfw.main‐5c57c99494‐9str8 Cached time: 20240716041910 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.484 seconds Real time usage: 0.640 seconds Preprocessor visited node count: 1829/1000000 Post‐expand include size: 73054/2097152 bytes Template argument size: 1857/2097152 bytes Highest expansion depth: 15/100 Expensive parser function count: 6/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 106355/5000000 bytes Lua time usage: 0.269/10.000 seconds Lua memory usage: 6183200/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 544.041 1 -total 46.07% 250.623 1 Template:Reflist 21.66% 117.814 10 Template:Cite_web 19.81% 107.793 1 Template:Cotton_sidebar 19.46% 105.881 1 Template:Sidebar 12.44% 67.703 1 Template:Short_description 8.53% 46.390 3 Template:Navbox 8.34% 45.364 1 Template:Fibers 7.69% 41.822 2 Template:Pagetype 7.09% 38.587 3 Template:Startflatlist Saved in parser cache with key enwiki:pcache:idhash:6577223-0!canonical and timestamp 20240716041910 and revision id 1205699583. 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Hexagonal machine-made net fabric used in lacemaking The hexagonal structure of bobbinet Bobbinet tulle or genuine tulle is a specific type of tulle (/wiki/Tulle_(netting)) which has been made in the United Kingdom (/wiki/United_Kingdom) since the invention of the bobbinet machine. John Heathcoat (/wiki/John_Heathcoat) coined the term "bobbin net", or bobbinet as it is spelled today, to distinguish this machine-made (/wiki/Lace_machine) tulle from the handmade " pillow lace (/wiki/Bobbin_lace) ", produced using a lace pillow (/wiki/Lace_pillow) to create bobbin lace (/wiki/Bobbin_lace) . Machines based on his original designs are still in operation today producing fabrics in Perry Street, Chard, Somerset (/wiki/Chard,_Somerset) , UK. When bobbinet is woven with spots, it is called point d'esprit . [1] (#cite_note-1) History [ edit ] Bobbinet (métier bobin) schematic. The bobbinet framework consists of: A - Warp beam B - Lace take up roller C - Represents the combs or guides, with two brass-bobbins in their carriers. Two combs/guides were used, as the technology could not produce a brass-bobbin 0.05 in (1.3 mm) thick but 0.10 in (2.5 mm) was do-able, so two ends shared one comb. The combs in were integral to the front comb bar and rear comb bar, which could shog 1 thread space sideways. The bobbins were propelled by front driver bars and back driver bars which were above the comb bar. [2] (#cite_note-FOOTNOTEEarnshaw198670-2) The forerunner of bobbinet tulle was bobbin lace (/wiki/Bobbin_lace) . Lace has been produced for a long time, made in tedious hand labour with thin thread and needles or bobbins. Bobbin lace is made by weaving the threads by moving the bobbins over or under each other. Much bobbin lace is based on a net ground. By the end of the 18th century, people tried to produce the net ground mechanically. In 1765 they managed to create a tulle-like fabric on a so-called stocking framework. It took, however, some more years until the first real tulle could be produced mechanically. The forerunner of the bobbinet machine was the 1589 stocking frame (/wiki/Stocking_frame) , a weaving frame fitted with a bar of bearded needles that passed back and forth, to and from the operator. There was no warp. The beards were simultaneously depressed by a presser bar catching the weft and holding it back a course making a row of loops. After Strutt had modified the machine in 1759 to do ribbing, Hammond in 1764 used a tickler stick to transfer the loops 2 or 3 gaits sideways, and mechanic lace making was born. [3] (#cite_note-FOOTNOTEEarnshaw198621-3) There was no carriage, no comb and the operations continued to be done in sequence by the operator. Bobbinet lace machines (/wiki/Lace_machine) were invented in 1808 by John Heathcoat. He studied the hand movements of a Northamptonshire (/wiki/Northamptonshire) manual lace maker and reproduced them in the roller-locker machine. Heathcoat's machine was patented in 1808 (patent no. 3151), and with a slight modification it was patented again in 1809 (patent no. 3216), with the 1809 version becoming known as the 'Old Loughborough'. The improved machine was 18 inches (46 cm) wide, and designed for use with cotton. [4] (#cite_note-FOOTNOTEEarnshaw198667-4) Heathcoat continued to improve his machine over the years, but a number of breaches of his patent also came into production. The 'Circular' was an improvement on the machine designed in 1824 by William Morley (patent no.4921). As it gained ascendency, its distinctive name was dropped; it became the bobbinet machine, and Heathcoat's machine the Old Loughborough. John Heathcoat's current factory in Tiverton, on the site of his original factory. The 'Old Loughborough' became the standard lacemaking machine, particularly the 1824 form known as the 'Circular', producing two-twist plain net. The smooth, unpatterned tulle produced on these machines was on a par with real, handmade lace net. Heathcoat's bobbinet machine was so effective that modern bobbinet machines have altered little from his original design. [5] (#cite_note-FOOTNOTEEarnshaw198696-5) During the next 30 years, inventors were patenting improvements to their machines. The ones that stand out are the Pusher machine (/wiki/Pusher_machine) , the Levers machine (/wiki/Leavers_machine) (now spelled Leavers) and the Nottingham lace curtain machine (/wiki/Nottingham_lace_curtain_machine) . Each of these developed into separate machines. Others were the Traverse Warp machine and the Straight Bolt machine. [5] (#cite_note-FOOTNOTEEarnshaw198696-5) Fabric structure [ edit ] Bobbinet tulle is constructed by warp (/wiki/Warp_(weaving)) and weft (/wiki/Weft) yarns (/wiki/Yarn) in which the weft yarn is looped diagonally (/wiki/Diagonal) around the vertical warp yarn to form a hexagonal (/wiki/Hexagon) mesh which is regular and clearly defined. Bobbinet netting has a characteristic diagonal fabric appearance, is diagonally stable and slideproof, durable, sheer (/wiki/Sheer_fabric) , the lightest bobbinet weighing no more than 6 g/m 2 (0.0012 lb/sq ft), with a high strength to weight ratio. Uses [ edit ] Bobbinet tulle fabrics have long been used for high-quality exclusive curtains, bridalwear (/wiki/Wedding_dress) , haute couture (/wiki/Haute_couture) fashion, lingerie (/wiki/Lingerie) , embroidery (/wiki/Embroidery) , where it is used as base cloth for the actual embroidery, and as base nets for high-quality wigs. Use has also extended into technical applications where the material's properties are more important than its appearance. These technical applications include sunblinds for cars and railway coaches, safety nets, parachute (/wiki/Parachute) skirting, radar (/wiki/Radar) reflective fabrics for military decoys, flexible textile switches and sensor, as well as light control (/w/index.php?title=Light_control&action=edit&redlink=1) fabrics for the film (/wiki/Film) and theatre (/wiki/Theatre) industries. Depending on the yarns bobbinet tulle is produced with, it can, for example, be made to be almost invisible against the skin or even conductive. References [ edit ] ^ (#cite_ref-1) "Point D'esprit | Definition of Point D'esprit by Merriam-Webster" (https://www.merriam-webster.com/dictionary/point%20d%27esprit) . Merriam-webster.com . Retrieved 2017-04-25 . ^ (#cite_ref-FOOTNOTEEarnshaw198670_2-0) Earnshaw 1986 (#CITEREFEarnshaw1986) , p. 70. ^ (#cite_ref-FOOTNOTEEarnshaw198621_3-0) Earnshaw 1986 (#CITEREFEarnshaw1986) , p. 21. ^ (#cite_ref-FOOTNOTEEarnshaw198667_4-0) Earnshaw 1986 (#CITEREFEarnshaw1986) , p. 67. ^ Jump up to: a b Earnshaw 1986 (#CITEREFEarnshaw1986) , p. 96. Bibliography [ edit ] Wikimedia Commons has media related to Bobbinet (https://commons.wikimedia.org/wiki/Category:Bobbinet) . Earnshaw, Pat (1986). Lace Machines and Machine Laces . B.T. Batsford. ISBN (/wiki/ISBN_(identifier)) 0-7134-4684-6 . v t e Lace (/wiki/Lace) types Needle lace (/wiki/Needle_lace) Filet lace (/wiki/Filet_lace) Punto in Aria (/wiki/Punto_in_Aria) Point de Venise (/wiki/Point_de_Venise) Point de France (/wiki/Point_de_France) Alençon (/wiki/Alen%C3%A7on_lace) Aemilia Ars (/w/index.php?title=Aemilia_Ars&action=edit&redlink=1) Argentan (/wiki/Argentan_lace) Argentella (/wiki/Argentella) Armenian (/wiki/Armenian_needlelace) Burano (https://it.wikipedia.org/wiki/Merletto%20di%20Burano) Halas lace (/wiki/Halas_lace) Hedebo embroidery (/wiki/Hedebo_embroidery) Hollie Point (/wiki/Hollie_Point) Nallıhan (/wiki/Nall%C4%B1han_silk_needlelace) Point de Gaze (/wiki/Point_de_Gaze) Kenmare Lace (/wiki/Kenmare_lace) Ñandutí (/wiki/%C3%91andut%C3%AD) Oya (/wiki/Oya_(lace)) Pag (/wiki/Pag_lace) Puncetto Valsesiano (/w/index.php?title=Puncetto_Valsesiano&action=edit&redlink=1) Tenerife (/wiki/Tenerife_lace) Youghal (/wiki/Youghal_lace) Embroidery (/wiki/Embroidery) Buratto (/wiki/Buratto) Filet lace (/wiki/Filet_lace) Reticella (/wiki/Reticella) Limerick (/wiki/Limerick_lace) Needlerun net (/wiki/Needlerun_net) Tambour (/wiki/Tambour_lace) Cutwork (/wiki/Cutwork) Broderie anglaise (/wiki/Broderie_anglaise) Carrickmacross (/wiki/Carrickmacross_lace) Lefkara lace (/wiki/Lefkara_lace) Saba lace (/wiki/Saba_lace) Bobbin lace (/wiki/Bobbin_lace) Mesh grounds (/wiki/Mesh_grounded_bobbin_lace) Torchon (/wiki/Torchon_lace) Freehand (/wiki/Freehand_lace) Arras (/wiki/Arras_lace) Bayeux (/wiki/Bayeux_lace) Beeralu (/w/index.php?title=Beeralu&action=edit&redlink=1) Blonde (/wiki/Blonde_lace) Bucks point (/wiki/Bucks_point_lace) Chantilly (/wiki/Chantilly_lace) Chefoo (/w/index.php?title=Chefoo_lace&action=edit&redlink=1) Cogne (/wiki/Cogne_lace) Tønder (/wiki/T%C3%B8nder_lace) Beveren (/wiki/Beveren_lace) Lille (/wiki/Lille_lace) Binche (/wiki/Binche_lace) Flanders (/wiki/Flanders_lace) Paris (/wiki/Paris_lace) Valenciennes (/wiki/Valenciennes_lace) Antwerp (/wiki/Antwerp_lace) Mechlin (/wiki/Mechlin_lace) Ipswich (/wiki/Ipswich_lace) 's Gravenmoer (/w/index.php?title=%27s_Gravenmoer_lace&action=edit&redlink=1) Mundillo (/wiki/Mundillo) Guipure (/wiki/Guipure) Greek (/wiki/Greek_lace) Genoese (/wiki/Genoese_lace) Bedfordshire (/wiki/Bedfordshire_lace) Cluny (/wiki/Cluny_lace) Dentelle du Puy (https://fr.wikipedia.org/wiki/Dentelle_du_Puy) Liptov (/wiki/Liptov) Maltese (/wiki/Maltese_lace) Yak lace (/wiki/Yak_lace) Part laces (/wiki/Part_lace) Honiton (/wiki/Honiton_lace) Bruges (/wiki/Bruges_lace) Brussels (/wiki/Brussels_lace) Rosaline (/wiki/Rosaline_lace) Point d'Angleterre (/wiki/Brussels_lace#Point_d'Angleterre) Tape (/wiki/Bobbin_tape_lace) Cantù (/w/index.php?title=Cant%C3%B9_lace&action=edit&redlink=1) Milanese (/wiki/Milanese_bobbin_lace) Hinojosa (/w/index.php?title=Hinojosa_lace&action=edit&redlink=1) Russian (/wiki/Russian_lace) Idrija (/wiki/Idrija_lace) Schneeberg (/wiki/Schneeberg_lace) Peasant (/w/index.php?title=Peasant_lace&action=edit&redlink=1) Tape lace (/wiki/Tape_lace) Mezzopunto (/w/index.php?title=Mezzopunto&action=edit&redlink=1) Princess (/wiki/Princess_lace) Renaissance (/wiki/Renaissance_lace) Battenberg (/wiki/Battenberg_lace) Romanian point (/wiki/Romanian_point_lace) Branscombe (/wiki/Branscombe_lace) Crocheted lace (/wiki/Crocheted_lace) Broomstick lace (/wiki/Broomstick_lace) Irish crochet (/wiki/Irish_lace) Hairpin (/wiki/Hairpin_lace) Filet crochet (/wiki/Filet_crochet) Orvieto lace (/w/index.php?title=Orvieto_lace&action=edit&redlink=1) Machine (/wiki/Lace_machine) -made lace Bobbinet Leavers (/wiki/Leavers_machine) Pusher (/wiki/Pusher_machine) Barmen (/wiki/Barmen_lace_machine) Curtain Machine (/wiki/Nottingham_lace_curtain_machine) Chemical (/wiki/Chemical_lace) Raschel (/wiki/Warp_knitting) Stocking Frame (/wiki/Stocking_frame) Warp Knit (/wiki/Warp_knitting) Other handmade laces Metal laces (/wiki/Metal_lace) Lace knitting (/wiki/Lace_knitting) Macramé (/wiki/Macram%C3%A9) Tatting (/wiki/Tatting) Punto a groppo (/wiki/Punto_a_groppo) Sprang (/wiki/Sprang) Liturgical lace (/wiki/Liturgical_lace) Media related to Lace (https://commons.wikimedia.org/wiki/Category:Lace) at Wikimedia Commons Fashion portal (/wiki/Portal:Fashion) Clothing portal (/wiki/Portal:Clothing) v t e Fabric (/wiki/Textile) Types Woven (/wiki/Woven_fabric) Abacá cloth (/wiki/Abac%C3%A1#Textiles) (Medriñaque) Aertex (/wiki/Aertex) Armazine (/wiki/Armazine) Almerían silk (/wiki/Almer%C3%ADan_silk) Barathea (/wiki/Barathea) Barkcloth (/wiki/Barkcloth) Batiste (/wiki/Batiste) Bedford cord (/wiki/Bedford_cord) Bengaline (/wiki/Bengaline) Beta cloth (/wiki/Beta_cloth) Bombazine (/wiki/Bombazine) Brilliantine (/wiki/Brilliantine_(fabric)) Broadcloth (/wiki/Broadcloth) Buckram (/wiki/Buckram) Bunting (/wiki/Bunting_(textile)) Burlap (/wiki/Hessian_fabric) Byrd Cloth (/wiki/Byrd_Cloth) C change (/wiki/C_change) Calico (/wiki/Calico) Cambric (/wiki/Cambric) Canvas (/wiki/Canvas) Chambray (/wiki/Cambric) Capilene (/wiki/Capilene) Cedar bark textile (/wiki/Cedar_bark_textile) Challis (/wiki/Challis_(fabric)) Char cloth (/wiki/Char_cloth) Charmeuse (/wiki/Charmeuse) Charvet (/wiki/Charvet_(fabric)) Cheesecloth (/wiki/Cheesecloth) Chiffon (/wiki/Chiffon_(fabric)) Chino (/wiki/Chino_cloth) Chintz (/wiki/Chintz) Cloqué (/wiki/Cloqu%C3%A9) Cloth of gold (/wiki/Cloth_of_gold) Cordura (/wiki/Cordura) Corduroy (/wiki/Corduroy) Cotton duck (/wiki/Cotton_duck) Coutil (/wiki/Coutil) Crêpe (/wiki/Cr%C3%AApe_(textile)) Cretonne (/wiki/Cretonne) Denim (/wiki/Denim) Dimity (/wiki/Dimity) Donegal tweed (/wiki/Donegal_tweed) Dornix (/wiki/Dornix) Dowlas (/wiki/Dowlas) Drill (/wiki/Drill_(fabric)) Drugget (/wiki/Drugget) Eolienne (/wiki/Eolienne) Flannel (/wiki/Flannel) Foulard (/wiki/Foulard) Fustian (/wiki/Fustian) Gabardine (/wiki/Gabardine) Gauze (/wiki/Gauze) Gazar (/wiki/Gazar) Georgette (/wiki/Georgette_(fabric)) Ghalamkar (/wiki/Ghalamkar) Gingham 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Viyella (/wiki/Viyella) Voile (/wiki/Voile) Wadmal (/wiki/Wadmal) Waffle (/wiki/Waffle_fabric) Wigan (/wiki/Wigan_(fabric)) Whipcord (/wiki/Whipcord) Zephyr (/wiki/Zephyr_cloth) Zorbeez (/wiki/Zorbeez) Figured woven Brocade (/wiki/Brocade) Camlet (/wiki/Camlet) Damask (/wiki/Damask) Lampas (/wiki/Lampas) Songket (/wiki/Songket) Rinzu (/wiki/Rinzu) Pile woven (/wiki/Pile_(textile)) Baize (/wiki/Baize) Chenille (/wiki/Chenille_fabric) Corduroy (/wiki/Corduroy) Crimplene (/wiki/Crimplene) Fustian (/wiki/Fustian) Mockado (/wiki/Mockado) Moquette (/wiki/Moquette) Plush (/wiki/Plush) Polar fleece (/wiki/Polar_fleece) Terrycloth (/wiki/Terrycloth) Velours du Kasaï (/wiki/Velours_du_Kasa%C3%AF) Velvet (/wiki/Velvet) Velveteen (/wiki/Velveteen) Zibeline (/wiki/Zibeline) Nonwoven (/wiki/Nonwoven_fabric) Felt (/wiki/Felt) Cedar bark (/wiki/Cedar_bark_textile) Knitted (/wiki/Knitted_fabric) Boiled wool (/wiki/Boiled_wool) Coolmax (/wiki/Coolmax) Machine knitting (/wiki/Knitting_machine) Milliskin (/wiki/Milliskin) Jersey (/wiki/Jersey_(fabric)) Velour (/wiki/Velour) Netted (/wiki/Net_(textile)) Bobbinet Carbon fibers (/wiki/Carbon_fibers) Lace (/wiki/Lace) Mesh (/wiki/Mesh) Needlerun net (/wiki/Needlerun_net) Ninon (/wiki/Ninon) Tulle (/wiki/Tulle_netting) Technical (/wiki/Technical_textile) Ballistic nylon (/wiki/Ballistic_nylon) Ban-Lon (/wiki/Ban-Lon) Conductive textile (/wiki/Conductive_textile) Darlexx (/wiki/Darlexx) E-textiles (/wiki/E-textiles) Gannex (/wiki/Gannex) Gore-Tex (/wiki/Gore-Tex) Lenticular fabric (/wiki/Lenticular_fabric) Silnylon (/wiki/Silnylon) Spandex (/wiki/Spandex) Stub-tex (/wiki/Stub-tex) SympaTex (/wiki/SympaTex) Windstopper (/wiki/Windstopper) Patterns Argyle (/wiki/Argyle_(pattern)) Bizarre silk (/wiki/Bizarre_silk) Check (/wiki/Check_(pattern)) Chiné (/wiki/Warp_printing) Glen plaid (/wiki/Glen_plaid) Herringbone (/wiki/Herringbone_(cloth)) Houndstooth (/wiki/Houndstooth) Kelsch (/wiki/Kelsch_d%27Alsace) Paisley (/wiki/Paisley_(design)) 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Set of dress codes for any occasions Not to be confused with Western wear (/wiki/Western_wear) . "Full dress" redirects here. Not to be confused with Full Dress (/wiki/Full_Dress) . This article needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Western_dress_codes) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed. Find sources: "Western dress codes" (https://www.google.com/search?as_eq=wikipedia&q=%22Western+dress+codes%22) – news (https://www.google.com/search?tbm=nws&q=%22Western+dress+codes%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Western+dress+codes%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Western+dress+codes%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Western+dress+codes%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Western+dress+codes%22&acc=on&wc=on) ( May 2011 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Part of a series (/wiki/Category:Formal_wear) on Western dress codes and corresponding attires (/wiki/Clothing) Formal (/wiki/Formal_wear) ( full dress (#Full_dress,_half_dress,_and_undress) ) White tie (/wiki/White_tie) Morning dress (/wiki/Morning_dress) Full dress uniform (/wiki/Full_dress_uniform) Frock coat (/wiki/Frock_coat) Evening gown (/wiki/Evening_gown) Ball gown (/wiki/Ball_gown) Semi-formal (/wiki/Semi-formal_wear) ( half dress (#Full_dress,_half_dress,_and_undress) ) Black tie (/wiki/Black_tie) Black lounge suit (/wiki/Black_lounge_suit) Mess dress uniform (/wiki/Mess_dress_uniform) Evening gown (/wiki/Evening_gown) Cocktail dress (/wiki/Cocktail_dress) Informal (/wiki/Informal_wear) ( undress (#Full_dress,_half_dress,_and_undress) , "dress clothes") Suit (/wiki/Suit) Service dress uniform (/wiki/Service_dress_uniform) Cocktail dress (/wiki/Cocktail_dress) Pantsuit (/wiki/Pantsuit) Casual (/wiki/Casual_wear) (anything not above) Business casual (/wiki/Business_casual) Casual Friday (/wiki/Casual_Friday) Combat uniform (/wiki/Combat_uniform) Smart casual (/wiki/Smart_casual) Workwear (/wiki/Workwear) Streetwear (/wiki/Streetwear) Sportswear (/wiki/Sportswear) known as Sportswear (fashion) (/wiki/Sportswear_(fashion)) and Athleisure (/wiki/Athleisure) Undress (/wiki/Undress_code) Supplementary alternatives Ceremonial dress (/wiki/Ceremonial_dress) law courts (/wiki/Court_dress) royal courts (/wiki/Court_uniform_and_dress_in_the_United_Kingdom) diplomatic (/wiki/Diplomatic_uniform) academic (/wiki/Academic_dress) , etc. Religious clothing (/wiki/Religious_clothing) cassock (/wiki/Cassock) , habit (/wiki/Religious_habit) , etc. Folk costume (/wiki/Folk_costume) Distinctions Orders (/wiki/Order_(distinction)) medals (/wiki/Medal) , etc. Legend: = Day (before 6 p.m.) = Evening (after 6 p.m.) = Bow tie (/wiki/Bow_tie) colour = Ladies = Gentlemen Fashion portal (/wiki/Portal:Fashion) v t e Western dress codes are a set of dress codes detailing what clothes are worn for what occasion. Conversely, since most cultures have intuitively applied some level equivalent to the more formal Western dress code traditions, these dress codes are simply a versatile framework, open to amalgamation of international and local customs. This versatility has made this scale of formality a practical international formality scale. Formality/ Dress Code Civilian Military Supplementary Men Women Day Evening Day Evening Formal wear (/wiki/Formal_wear) i.e. "Full dress" Morning dress (/wiki/Morning_dress) White tie (/wiki/White_tie) Trouser suit or skirt with blazer Ball gown (/wiki/Ball_gown) Full dress uniform (/wiki/Full_dress_uniform) Ceremonial dress (/wiki/Ceremonial_dress) , religious clothing (/wiki/Religious_clothing) , folk costumes (/wiki/Folk_costume) , orders (/wiki/Order_(distinction)) and medals (/wiki/Medal) , etc. Semi-formal wear (/wiki/Semi-formal_wear) i.e. "Half dress" Black lounge suit (/wiki/Black_lounge_suit) Black tie (/wiki/Black_tie) Evening gown (/wiki/Evening_gown) Mess dress uniform (/wiki/Mess_dress_uniform) Informal wear (/wiki/Informal_wear) i.e. "Undress" Suit (/wiki/Suit) Cocktail dress (/wiki/Cocktail_dress) Service dress uniform (/wiki/Service_dress_uniform) Casual wear (/wiki/Casual_wear) Anything considered inappropriate for more formal occasions Classifications are divided into formal wear (/wiki/Formal_wear) ( full dress ), semi-formal wear (/wiki/Semi-formal_wear) ( half dress ), and informal wear (/wiki/Informal_wear) ( undress ). Anything below this level is referred to as casual wear (/wiki/Casual_wear) , although sometimes in combinations such as " smart casual (/wiki/Smart_casual) " or " business casual (/wiki/Business_casual) " in order to indicate higher expectation than none at all. Etiquette [ edit ] For both men and women, hats (/wiki/Hat) corresponding to the various levels of formality exist. As supplements to the standard dress codes, headgear (/wiki/Headgear) ( see biretta (/wiki/Biretta) , kippah (/wiki/Kippah) etc. ) can be worn, though certain settings have etiquette regarding this; for example, in Christian (/wiki/Christianity) churches, traditional norms have enjoined the wearing of a headcovering (/wiki/Christian_head_covering) (such as a veil or cap) by women, while men are prohibited from wearing a hat. [1] (#cite_note-Hunt2014-1) [2] (#cite_note-Yarborough2022-2) [3] (#cite_note-3) Ceremonial dress (/wiki/Ceremonial_dress) , military uniform (/wiki/Military_uniform) , religious clothing (/wiki/Religious_clothing) , academic dress (/wiki/Academic_dress) , and folk costume (/wiki/Folk_costume) appropriate to the formality level are encouraged, but face-covering garments ( niqab (/wiki/Niq%C4%81b) , hijab (/wiki/Hijab) ) are not always accepted. France outlawed the public use of burqas (/wiki/Burqa) in 2010 and the European court of law seconded the law because "uncovered faces encourage citizens to live together" (see also burqa by country (/wiki/Burqa_by_country) ). [4] (#cite_note-4) Formal wear [ edit ] Main article: Formal wear (/wiki/Formal_wear) Typical events: Weddings, state dinners and affairs, formal balls, royal events, etc. Semi-formal wear [ edit ] Main article: Semi-formal wear (/wiki/Semi-formal_wear) Typical events: Theatre opening nights, charity balls, etc. There is some variation in style depending on whether it is summer, spring, winter or fall. See black tie (/wiki/Black_tie) and stroller (/wiki/Stroller_(style)) for more details. Informal wear [ edit ] Main article: Informal wear (/wiki/Informal_wear) Typical events: Diplomatic and business meetings, many social occasions, everyday wear Casual wear [ edit ] Main article: Casual wear (/wiki/Casual_wear) Casual wear encompasses business casual (/wiki/Business_casual) , smart casual (/wiki/Smart_casual) , etc. History [ edit ] A historic chart of dress codes from Fashion , 1902 The background of traditional contemporary Western dress codes as fixed in 20th century relied on several steps of replacement of preexisting formal wear, while in turn increasing the formality levels of the previously less formal alternatives. Thus was the case with the ceasing of the justacorps (/wiki/Justacorps) , extensively worn from the 1660s until the 1790s, followed by the same fate of the 18th century frock (/wiki/Frock) (not to be confused with frock coat ), in turn followed by the frock coat (/wiki/Frock_coat) . Full dress, half dress, and undress [ edit ] "Full dress" redirects here. For the thoroughbred racehorse, see Full Dress (/wiki/Full_Dress) . For the uniform worn on formal occasions, see full dress uniform (/wiki/Full_dress_uniform) . "Undress" redirects here. For the albums, see Undress (Jesca Hoop album) (/wiki/Undress_(Jesca_Hoop_album)) and Undress (The Felice Brothers album) (/wiki/Undress_(The_Felice_Brothers_album)) . See also: Undress code (/wiki/Undress_code) Formal, semi-formal, and informal all have roots in 19th century customs subsequent to the replacement of the 18th century generic justaucorps (/wiki/Justaucorps) , and has remained fixed defined since the 20th century. The 19th century frock coat (/wiki/Frock_coat) rarely occurs except as formal alternative. For women, interpretations have fluctuated more dynamically according to fashion (/wiki/Fashion) . Before the modern system of formal , semi-formal , and informal was consolidated in the 20th century, the terms were looser. In the 19th century, during the Victorian (/wiki/Victorian_period) and Edwardian periods (/wiki/Edwardian_period) , the principal classifications of clothing were full dress and undress , and, less commonly the intermediate half dress . Full dress covered the most formal option: frock coat for day wear (/wiki/Morning_dress) , and dress coat (/wiki/Dress_coat) ( white tie (/wiki/White_tie) ) for evening wear (/wiki/Evening_dress_(disambiguation)) (sometimes with supplementary alternative being a full dress uniform independent of what time of the day). As such, full dress may still appear in use designating formal wear (/wiki/Formal_wear) . When morning dress (/wiki/Morning_dress) became common (in the modern sense, using a morning tailcoat rather than a frock coat), it was considered less formal than a frock coat, and even when the frock coat was increasingly phased out, morning dress never achieved full dress status. [ citation needed ] Therefore, in the 21st century, full dress often refers to white tie only. [ citation needed ] Today's semi-formal evening black tie (originally dinner clothes ) was initially described as informal wear (/wiki/Informal_wear) , while the "lounge suit," now standard business wear, was originally considered (as its name suggests) casual wear (/wiki/Casual_wear) . Half dress , when used, was variously applied at different times, but was used to cover modern morning dress (the term morning dress is fairly undescriptive and has not always meant modern morning dress). Undress (not to be confused with nudity (/wiki/Nudity) ) in turn was similarly loose in meaning, corresponding to anything from a dressing gown (/wiki/Dressing_gown) to a lounge suit (/wiki/Lounge_suit) or its evening equivalent of dinner clothes (now one of the more formal dress codes seen in many Western regions). [5] (#cite_note-5) References [ edit ] ^ (#cite_ref-Hunt2014_1-0) Hunt, Margaret (11 June 2014). Women in Eighteenth Century Europe . Taylor & Francis. p. 58. ISBN (/wiki/ISBN_(identifier)) 9781317883876 . Today many people associate rules about veiling and headscarves with the Muslim world, but in the eighteenth century they were common among Christians as well, in line with 1 Corinthians 11:4-13 which appears not only to prescribe headcoverings for any women who prays or goes to church, but explicitly to associate it with female subordination, which Islamic veiling traditions do not typically do. Many Christian women wore a head-covering all the time, and certainly when they went outside; those who did not would have been barred from church and likely harassed on the street. … Veils were, of course, required for Catholic nuns, and a veil that actually obscured the face was also a mark of elite status throughout most of Europe. Spanish noblewomen wore them well into the eighteenth century, and so did Venetian women, both elites and non-elites. Across Europe almost any woman who could afford them also wore them to travel. ^ (#cite_ref-Yarborough2022_2-0) Yarborough, Kaitlyn (20 May 2022). "How To Know When It's Rude To Wear Your Hat Indoors, According to Etiquette" (https://www.southernliving.com/culture/etiquette/can-you-wear-a-hat-inside) . Southern Living (/wiki/Southern_Living) . Archived (https://web.archive.org/web/20230201195136/https://www.southernliving.com/culture/etiquette/can-you-wear-a-hat-inside) from the original on 1 February 2023 . Retrieved 1 February 2023 . Hat etiquette also has roots in Christianity, as it's long been considered customary for men to remove their hats upon entering a church. As we all know, however, church hats are a historic tradition for women to wear in the South. ^ (#cite_ref-3) Neusner, Jacob; Armistead, M. Kathryn (1 September 2010). Introduction to World Religions: Communities and Cultures . Abingdon Press. ISBN (/wiki/ISBN_(identifier)) 978-1-4267-1976-9 . In most forms of Christianity, however, men remove their hats as a sign of deference to the deity. The bareheadedness derives from the comments of the Apostle Paul in 1 Corinthians 11:4 that "a man who keeps his head covered when he prays or prophesies brings shame upon his head" (NEB). ^ (#cite_ref-4) "Countries With The Strictest Dress Codes" (https://www.worldatlas.com/society/countries-with-the-strictest-dress-codes.html) . WorldAtlas . 2022-11-15 . Retrieved 2023-12-10 . ^ (#cite_ref-5) Kent State University Museum (2002). "Of Men & Their Elegance" (http://dept.kent.edu/museum/exhibit/menswear/1840-1880.htm) . Archived (https://web.archive.org/web/20081017100034/http://dept.kent.edu/museum/exhibit/menswear/1840-1880.htm) from the original on 2008-10-17 . Retrieved 2008-11-02 . Further reading [ edit ] Sondag, Glen (2011). Anything Other Than Naked . London Street Press. pp. 200 pages. 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(/wiki/Bride) child bride (/wiki/List_of_child_brides) Bridegroom (/wiki/Bridegroom) child bridegroom (/wiki/List_of_child_bridegrooms) Bridesmaid (/wiki/Bridesmaid) Bridesman (/wiki/Bridesman) Flower girl (/wiki/Flower_girl) Groomsman (/wiki/Groomsman) Page boy (/wiki/Page_boy_(wedding_attendant)) Officiant (/wiki/Marriage_officiant) Traditions Ahesta Bero (/wiki/Ahesta_Bero) Bedding ceremony (/wiki/Bedding_ceremony) Bridal Chorus (/wiki/Bridal_Chorus) First dance (/wiki/First_dance) "Indian" Wedding Blessing (/wiki/Indian_Wedding_Blessing) Jumping the broom (/wiki/Jumping_the_broom) Lychgate (/wiki/Lychgate#Use_at_weddings) Money dance (/wiki/Money_dance) Music (/wiki/Wedding_music) Polterabend (/wiki/Polterabend) Pounded rice ritual (/wiki/Pounded_rice_ritual) Pyebaek (/wiki/Pyebaek) Trash the dress (/wiki/Trash_the_dress) Unity candle (/wiki/Unity_candle) Walima (/wiki/Walima) Wedding March (/wiki/Wedding_March_(Mendelssohn)) Wedding photography (/wiki/Wedding_photography) Wedding 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(/wiki/Party) and festivals (/wiki/Festival) Sorted by occasions, purposes or attributes Types Wedding (/wiki/Wedding) -related Bachelor party (/wiki/Bachelor_party) Bachelorette party (/wiki/Bachelorette_party) Bridal shower (/wiki/Bridal_shower) Engagement party (/wiki/Engagement_party) Wedding reception (/wiki/Wedding_reception) Eid al-Adha (/wiki/Eid_al-Adha) Eid al-Fitr (/wiki/Eid_al-Fitr) Banquets (/wiki/Banquet) Eid cuisine (/wiki/Eid_cuisine) State banquet (/wiki/State_banquet) Ball (/wiki/Ball_(dance_event)) Debutante ball (/wiki/Debutante_ball) Hunt ball (/wiki/Hunt_ball) Symposium (/wiki/Symposium) House parties (/wiki/House_party) Family reunion (/wiki/Family_reunion) Cocktail party (/wiki/Cocktail_party) Housewarming party (/wiki/Housewarming_party) Sleepover (/wiki/Sleepover) LAN party (/wiki/LAN_party) Political houseparty (/wiki/Political_houseparty) Rent party (/wiki/Rent_party) Public parties Festivals (/wiki/Festival) Holidays (/wiki/Holiday) Spring break 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party (/wiki/Costume_party) Masqerade party (/wiki/Masquerade_ball) Drag party (/wiki/Cross-dressing_ball) Toga party (/wiki/Toga_party) Naked party (/wiki/Naked_party) Crayfish party (/wiki/Crayfish_party) Cuddle party (/wiki/Cuddle_party) Dance party (/wiki/Dance_party) Prom (/wiki/Prom) Homecoming (/wiki/Homecoming) Foam party (/wiki/Foam_party) Hurricane party (/wiki/Hurricane_party) Kitty party (/wiki/Kitty_party) Pamper party (/wiki/Pamper_party) Parade (/wiki/Parade) Marching (/wiki/Marching) Pizza party (/wiki/Pizza_party) Quiet party (/wiki/Quiet_party) Ritual (/wiki/Ritual) Stop light party (/wiki/Stop_light_party) Tea party (/wiki/Tea_party) Clothing Western dress codes Formal (/wiki/Formal_wear) White tie (/wiki/White_tie) Morning dress (/wiki/Morning_dress) Semi-formal (/wiki/Semi-formal_wear) Black tie (/wiki/Black_tie) Black lounge suit (/wiki/Black_lounge_suit) Informal (/wiki/Informal_wear) Suit (/wiki/Suit) Casual (/wiki/Casual_wear) Wedding dress (/wiki/Wedding_dress) Contemporary (/wiki/Contemporary_Western_wedding_dress) Bridal crown (/wiki/Bridal_crown) Dress (/wiki/Dress) Evening gown (/wiki/Evening_gown) Ball gown (/wiki/Ball_gown) Debutante (/wiki/D%C3%A9butante_dress) Opera gloves (/wiki/Evening_glove) Cocktail dress (/wiki/Cocktail_dress) Garters (/wiki/Garter) Casual (/wiki/Casual_wear) Equipment Balloon (/wiki/Balloon) Balloon modelling (/wiki/Balloon_modelling) Confetti (/wiki/Confetti) Cotton candy (/wiki/Cotton_candy) Deely bobber (/wiki/Deely_bobber) Glow stick (/wiki/Glow_stick) Groucho glasses (/wiki/Groucho_glasses) Party hat (/wiki/Party_hat) New Year's glasses (/wiki/New_Year%27s_glasses) Party bus (/wiki/Party_bus) Party horn (/wiki/Party_horn) Party popper (/wiki/Party_popper) Serpentine streamer (/wiki/Serpentine_streamer) Society portal (/wiki/Portal:Society) Media (https://commons.wikimedia.org/wiki/Category:Parties) Category (/wiki/Category:Parties) v t e Fashion (/wiki/Fashion) articles Index of fashion articles (/wiki/Index_of_fashion_articles) General Environmental impact of fashion (/wiki/Environmental_impact_of_fashion) Fashion accessory (/wiki/Fashion_accessory) Fashion design (/wiki/Fashion_design) Fashion design copyright (/wiki/Fashion_design_copyright) Fashion matrix (/wiki/Fashion_matrix) Fashion museum (/wiki/Fashion_museum) Fashion plate (/wiki/Fashion_plate) Fashion tourism (/wiki/Fashion_tourism) Semiotics of fashion (/wiki/Semiotics_of_fashion) History (/wiki/History_of_fashion_design) History of clothing and textiles (/wiki/History_of_clothing_and_textiles) History of Western fashion (/wiki/History_of_Western_fashion) History of fashion design (/wiki/History_of_fashion_design) Timeline of clothing and textiles technology (/wiki/Timeline_of_clothing_and_textiles_technology) 19th century (/wiki/19th_century_in_fashion) 21st century (/wiki/21st_century_in_fashion) Events (/wiki/List_of_fashion_events) Fashion show (/wiki/Fashion_show) Fashion week (/wiki/Fashion_week) Industry (/wiki/Fashion_industry) Awards (/wiki/Category:Fashion_awards) Clothing industry (/wiki/Clothing_industry) Designer clothing (/wiki/Designer_clothing) Digital fashion (/wiki/Digital_fashion) Fashion blog (/wiki/Fashion_blog) Fashion capital (/wiki/Fashion_capital) Fashion entrepreneur (/wiki/Fashion_entrepreneur) Fashion editor (/wiki/Fashion_editor) Fashion forecasting (/wiki/Fashion_forecasting) Fashion illustration (/wiki/Fashion_illustration) Fashion influencer (/wiki/Fashion_influencer) Fashion journalism (/wiki/Fashion_journalism) Fashion law (/wiki/Fashion_law) Fashion photography (/wiki/Fashion_photography) Fashion merchandising (/wiki/Fashion_merchandising) Fast fashion (/wiki/Fast_fashion) in China (/wiki/Fast_fashion_in_China) Red carpet fashion (/wiki/Red_carpet_fashion) Social media in the fashion industry (/wiki/Social_media_in_the_fashion_industry) Sweatshop (/wiki/Sweatshop) Trickle-up fashion (/wiki/Trickle-up_fashion) Traditional clothing Ceremonial (/wiki/Ceremonial_dress) Court (/wiki/Court_dress) Diplomatic (/wiki/Diplomatic_uniform) Academic (/wiki/Academic_dress) Military (/wiki/Military_uniform) Full (/wiki/Full_dress_uniform) Mess (/wiki/Mess_dress_uniform) Service (/wiki/Service_dress_uniform) Sailor (/wiki/Sailor_suit) Combat (/wiki/Combat_uniform) Folk (/wiki/Folk_costume) Western dress codes Formal (/wiki/Formal_wear) Morning dress (/wiki/Morning_dress) White tie (/wiki/White_tie) Ball gown (/wiki/Ball_gown) Semi-formal (/wiki/Semi-formal_wear) Black lounge suit (/wiki/Black_lounge_suit) Black tie (/wiki/Black_tie) Evening gown (/wiki/Evening_gown) Informal (/wiki/Informal_wear) Suit (/wiki/Suit) Cocktail dress (/wiki/Cocktail_dress) Pantsuit (/wiki/Pantsuit) Religious (/wiki/Religious_clothing) Christian (/wiki/Christian_clothing) Jewish (/wiki/Jewish_religious_clothing) Islamic (/wiki/Islamic_fashion) Modest fashion (/wiki/Modest_fashion) Casual (/wiki/Casual_wear) Smart casual (/wiki/Smart_casual) British country clothing (/wiki/British_country_clothing) Business casual (/wiki/Business_casual) Chic (/wiki/Chic) Cruise collection (/wiki/Cruise_collection) Preppy (/wiki/Preppy) Ivy League (/wiki/Ivy_League_(clothes)) Mod (/wiki/Mod_(subculture)) Sloane Ranger (/wiki/Sloane_Ranger) Teddy Boys (/wiki/Teddy_Boys) Young fogey (/wiki/Young_fogey) Street fashion (/wiki/Street_fashion) Streetwear (/wiki/Streetwear) Hip hop (/wiki/Hip_hop_fashion) Hippie (/wiki/Hippie#Art_and_fashion) Hipster (/wiki/Hipster_(contemporary_subculture)) Sportswear (/wiki/Sportswear) Athleisure (/wiki/Athleisure) Gorpcore (/wiki/Gorpcore) Sportswear fashion (/wiki/Sportswear_(fashion)) Surfwear (/wiki/Surfwear) Ghetto fabulous (/wiki/Ghetto_fabulous) Bling-bling (/wiki/Bling-bling) Vintage fashion (/wiki/Vintage_clothing) Alternative (/wiki/Alternative_fashion) Androgyny (/wiki/Androgyny_in_fashion) Bohemian (/wiki/Bohemian_style) Emo (/wiki/Emo) Fetish (/wiki/Fetish_fashion) Gothic (/wiki/Gothic_fashion) Lolita (/wiki/Lolita_fashion) Queer (/wiki/Queer_fashion) Skinhead (/wiki/Skinhead) Steampunk (/wiki/Steampunk_fashion) Thrift store chic (/wiki/Thrift_store_chic) Rocker (/wiki/Rocker_(subculture)) Greaser (/wiki/Greaser_(subculture)) Glam (/wiki/Glam_rock) Grunge (/wiki/Grunge_fashion) Heavy metal (/wiki/Heavy_metal_fashion) Punk (/wiki/Punk_fashion) Skate (/wiki/Skate_punk) Rockabilly (/wiki/Rockabilly) By country American fashion (/wiki/Fashion_in_the_United_States) Canadian fashion (/wiki/Canadian_fashion) Chinese fashion (/wiki/Chinese_fashion) Filipino fashion (/wiki/Fashion_in_the_Philippines) French fashion (/wiki/French_fashion) German fashion (/wiki/German_fashion) Indian fashion (/wiki/Fashion_in_India) Iranian fashion (/wiki/Fashion_in_Iran) Israeli fashion (/wiki/Israeli_fashion) Italian fashion (/wiki/Italian_fashion) History (/wiki/History_of_Italian_fashion) Japanese fashion (/wiki/Japanese_street_fashion) Nigerian fashion (/wiki/Fashion_in_Nigeria) Russian fashion (/wiki/Russian_fashion) South Korean fashion (/wiki/Fashion_in_South_Korea) Swedish fashion (/wiki/Swedish_fashion) Thai fashion (/wiki/History_of_Thai_clothing) Vietnamese clothing (/wiki/Vietnamese_clothing) Fashion activism (/wiki/Fashion_activism) Anti-fashion (/wiki/Anti-fashion) Anti-sweatshop movement (/wiki/Anti-sweatshop_movement) Circular fashion (/wiki/Circular_fashion) Sustainable fashion (/wiki/Sustainable_fashion) Slow fashion (/wiki/Slow_fashion) Trashion (/wiki/Trashion) Zero-waste fashion (/wiki/Zero-waste_fashion) See also Ballet and fashion (/wiki/Ballet_and_fashion) Capsule wardrobe (/wiki/Capsule_wardrobe) Chinoiserie in fashion (/wiki/Chinoiserie_in_fashion) Dress code (/wiki/Dress_code) Undress (/wiki/Undress_code) Music and fashion (/wiki/Music_and_fashion) Fashion victim (/wiki/Fashion_victim) Fashion portal (/wiki/Portal:Fashion) v t e Historical clothing (/wiki/History_of_clothing_and_textiles) Clothing generally not worn today, except in historical settings Body-length (/wiki/Suit) Abolla (/wiki/Abolla) Banyan (/wiki/Banyan_(clothing)) Brunswick (/wiki/Brunswick_(clothing)) Court dress (Empire of Japan) (/wiki/Court_uniform_and_dress_in_the_Empire_of_Japan) Chiton (/wiki/Chiton_(costume)) Frock (/wiki/Frock) Frock coat (/wiki/Frock_coat) Hanfu (/wiki/Hanfu) Justacorps (/wiki/Justacorps) Paenula (/wiki/Paenula) Peplos (/wiki/Peplos) Stola (/wiki/Stola) Toga (/wiki/Toga) Tunic (/wiki/Tunic) Xout lao (/wiki/Xout_lao) Tops (/wiki/Top_(clothing)) Basque (/wiki/Basque_(clothing)) Bedgown (/wiki/Bedgown) Bodice (/wiki/Bodice) Doublet (/wiki/Doublet_(clothing)) Peascod belly (/wiki/Peascod_belly) Poet shirt (/wiki/Poet_shirt) Sbai (/wiki/Sbai) Suea pat (/wiki/Suea_pat) Trousers (/wiki/Trousers) Braccae (/wiki/Braccae) Breeches (/wiki/Breeches) Sompot Chong Kben (/wiki/Sompot_Chong_Kben) Culottes (/wiki/Culottes) Harem (/wiki/Harem_pants) Knickerbockers (/wiki/Knickerbockers_(clothing)) Pedal pushers (/wiki/Pedal_pushers) Saragüells (/w/index.php?title=Sarag%C3%BCells&action=edit&redlink=1) [ ca (https://ca.wikipedia.org/wiki/Sarag%C3%BCells) ] Skirts (/wiki/Skirt) Hobble (/wiki/Hobble_skirt) Poodle (/wiki/Poodle_skirt) Safeguard (/wiki/Safeguard_(costume)) Sompot (/wiki/Sompot) Sinh (/wiki/Sinh_(clothing)) Train (/wiki/Train_(clothing)) Dresses (/wiki/Dress) Bliaut (/wiki/Bliaut) Close-bodied gown (/wiki/Close-bodied_gown) Debutante (/wiki/Debutante_dress) Gown (/wiki/Gown) Kirtle (/wiki/Kirtle) Mantua (/wiki/Mantua_(clothing)) Polonaise (/wiki/Polonaise_(clothing)) Robe de cour (/wiki/Robe_de_cour) Sack-back gown (/wiki/Sack-back_gown) Sailor (/wiki/Sailor_dress) Tea gown (/wiki/Tea_gown) Zaju chuishao fu (/wiki/Zaju_chuishao_fu) Outerwear (/wiki/List_of_outerwear) Capote (/wiki/Capote_(garment)) Car coat (/wiki/Car_coat) Caraco (/wiki/Caraco) Cardinal cloak (/wiki/Cardinal_cloak) Chamail (/wiki/Chamail_(clothing)) Chlamys (/wiki/Chlamys) Cloak (/wiki/Cloak) Kinsale cloak (/wiki/Kinsale_cloak) Dolman (/wiki/Dolman) Doublet (/wiki/Doublet_(clothing)) Duster (/wiki/Duster_(clothing)) Exomis (/wiki/Exomis) Greatcoat (/wiki/Greatcoat) Himation (/wiki/Himation) Houppelande (/wiki/Houppelande) Inverness cape (/wiki/Inverness_cape) Jerkin (/wiki/Jerkin) Kandys (/wiki/Kandys) Mackinaw jacket (/wiki/Mackinaw_jacket) Nadiri (/wiki/Nadiri) Norfolk jacket (/wiki/Norfolk_jacket) Overfrock (/wiki/Over-frock_coat) Pañuelo (/wiki/Pa%C3%B1uelo) Palla (/wiki/Palla_(garment)) Pallium (/wiki/Pallium_(Roman_cloak)) Pelisse (/wiki/Pelisse) Poncho (/wiki/Poncho) Shadbelly (/wiki/Shadbelly) Shawl (/wiki/Shawl) Galway shawl (/wiki/Galway_shawl) Kullu (/wiki/Kullu_shawl) Smock-frock (/wiki/Smock-frock) Spencer (/wiki/Spencer_(clothing)) Surcoat (/wiki/Surcoat) Surtout (/wiki/Surtout) Ulster coat (/wiki/Ulster_coat) Visite (/wiki/Visite) Witzchoura (/wiki/Witzchoura) Underwear (/wiki/Undergarment) Basque (/wiki/Basque_(clothing)) Bustle (/wiki/Bustle) Chausses (/wiki/Chausses) Chemise (/wiki/Chemise) Codpiece (/wiki/Codpiece) Corselet (/wiki/Corselet) Corset (/wiki/Corset) Waist cincher (/wiki/Waist_cincher) Dickey (/wiki/Dickey_(garment)) Garter (/wiki/Garter) Hoop skirt (/wiki/Hoop_skirt) Crinoline (/wiki/Crinoline) Farthingale (/wiki/Farthingale) Pannier (/wiki/Pannier_(clothing)) Hose (/wiki/Hose_(clothing)) Liberty bodice (/wiki/Liberty_bodice) Loincloth (/wiki/Loincloth) Open drawers (/wiki/Open_drawers) Pantalettes (/wiki/Pantalettes) Petticoat (/wiki/Petticoat) Peignoir (/wiki/Peignoir) Pettipants (/wiki/Pettipants) Union suit (/wiki/Union_suit) Yếm (/wiki/Y%E1%BA%BFm) Headwear (/wiki/Headgear) Anthony Eden (/wiki/Anthony_Eden_hat) Apex (/wiki/Apex_(headdress)) Arakhchin (/wiki/Arakhchin) Attifet (/wiki/Attifet) Aviator (/wiki/Aviator_hat) Ba tầm (/wiki/Ba_t%E1%BA%A7m) Bergère (/wiki/Berg%C3%A8re_hat) Blessed hat (/wiki/Blessed_sword_and_hat) Bonnet (/wiki/Bonnet_(headgear)) Capotain (/wiki/Capotain) Caubeen (/wiki/Caubeen) Cavalier (/wiki/Cavalier_hat) Coif (/wiki/Coif) Coonskin (/wiki/Coonskin_cap) Cornette (/wiki/Cornette) Dunce (/wiki/Dunce_cap) Fillet (/wiki/Fillet_(clothing)) French hood (/wiki/French_hood) Fontange (/wiki/Fontange) Futou (/wiki/Futou) Gable hood (/wiki/Gable_hood) Hennin (/wiki/Hennin) Jeongjagwan (/wiki/Jeongjagwan) Jewish (/wiki/Jewish_hat) Kausia (/wiki/Kausia) Kokoshnik (/wiki/Kokoshnik) Llawt'u (/wiki/Llawt%27u) Malahai (/wiki/Malahai) Matron's badge (/wiki/Matron%27s_badge) Miner's (/wiki/Miner%27s_cap) Mob (/wiki/Mobcap) Modius (/wiki/Modius_(headdress)) Monmouth (/wiki/Monmouth_cap) Mooskappe (/wiki/Mooskappe) Motoring hood (/wiki/Motoring_hood) Mounteere (/wiki/Mounteere_Cap) Nemes (/wiki/Nemes) Nightcap (/wiki/Nightcap_(garment)) Ochipok (/wiki/Ochipok) Pahlavi (/wiki/Pahlavi_hat) Petasos (/wiki/Petasos) Phrygian (/wiki/Phrygian_cap) Pileus (/wiki/Pileus_(hat)) Printer's (/wiki/Printer%27s_hat) Pudding (/wiki/Baby_bumper_headguard_cap) Qeleshe (/wiki/Qeleshe) Qing (/wiki/Qing_official_headwear) Salakot (/wiki/Salakot) Snood (/wiki/Snood_(headgear)) Smoking (/wiki/Smoking_cap) Tainia (/wiki/Tainia_(costume)) Taranga (/wiki/Taranga_(clothing)) Welsh Wig (/wiki/Welsh_Wig) Wimple (/wiki/Wimple) Footwear (/wiki/Footwear) Buskins (/wiki/Buskin) Calcei (/wiki/Calcei) Caligae (/wiki/Caligae) Carbatina (/wiki/Carbatina) Chinese styles (/wiki/Hanfu_footwear) Chopines (/wiki/Chopine) Duckbills (/wiki/Duckbill_shoe) Episcopal sandals (/wiki/Episcopal_sandals) Hessian (/wiki/Hessian_(boot)) Lotus shoes (/wiki/Lotus_shoes) Manchu platform shoes (/wiki/Manchu_platform_shoes) Pampooties (/wiki/Pampootie) Pattens (/wiki/Patten_(shoe)) Pigaches (/wiki/Pigache) Poulaines (/wiki/Poulaine) Socci (/wiki/Socci) Tiger-head shoes (/wiki/Tiger-head_shoes) Turnshoes (/wiki/Turnshoe) Accessories (/wiki/Fashion_accessory) Ascot tie (/wiki/Ascot_tie) Belt hook (/wiki/Belt_hook) Cointoise (/wiki/Cointoise) Cravat (early) (/wiki/Cravat_(early)) Hairpin (/wiki/Hairpin) Hatpin (/wiki/Hatpin) Jabot (/wiki/Jabot_(neckwear)) Lavallière (/wiki/Pussy_bow) Muff (/wiki/Muff_(handwarmer)) Oes (/wiki/Oes) Partlet (/wiki/Partlet) Perfumed gloves (/wiki/Perfumed_gloves) Ruff (/wiki/Ruff_(clothing)) Shoe buckle (/wiki/Shoe_buckle) Visard (/wiki/Visard) Clothing portal (/wiki/Portal:Clothing) v t e Clothing (/wiki/Clothing) History (/wiki/History_of_clothing_and_textiles) Industry (/wiki/Clothing_industry) Technology (/wiki/Clothing_technology) Terminology (/wiki/Clothing_terminology) Timeline (/wiki/Timeline_of_clothing_and_textiles_technology) Headwear (/wiki/Headgear) Beret (/wiki/Beret) Cap (/wiki/Cap) baseball (/wiki/Baseball_cap) flat (/wiki/Flat_cap) knit (/wiki/Knit_cap) Hat (/wiki/Hat) boater (/wiki/Boater) bowler (/wiki/Bowler_hat) fedora (/wiki/Fedora) homburg (/wiki/Homburg_hat) top (/wiki/Top_hat) Helmet (/wiki/Helmet) Hood (/wiki/Hood_(headgear)) Kerchief (/wiki/Kerchief) Mask (/wiki/Mask) Turban (/wiki/Turban) Veil (/wiki/Veil) Neckwear (/wiki/Neckwear) Bands (/wiki/Bands_(neckwear)) Choker (/wiki/Choker) Clerical collar (/wiki/Clerical_collar) Lavallière (/wiki/Pussy_bow) Neckerchief (/wiki/Neckerchief) Neck gaiter (/wiki/Neck_gaiter) Necktie (/wiki/Necktie) ascot (/wiki/Ascot_tie) bolo (/wiki/Bolo_tie) bow (/wiki/Bow_tie) kipper (/wiki/Kipper_tie) school (/wiki/School_tie) stock (/wiki/Stock_tie) Scarf (/wiki/Scarf) Tippet (/wiki/Tippet) Tops (/wiki/Top_(clothing)) Blouse (/wiki/Blouse) cache-cœur (/wiki/Cache-c%C5%93ur) crop top (/wiki/Crop_top) halterneck (/wiki/Halterneck) tube top (/wiki/Tube_top) Cycling (/wiki/Cycling_jersey) Kurta (/wiki/Kurta) Mantle (/wiki/Mantle_(clothing)) Shirt (/wiki/Shirt) dress (/wiki/Dress_shirt) Henley (/wiki/Henley_shirt) polo (/wiki/Polo_shirt) sleeveless (/wiki/Sleeveless_shirt) T (/wiki/T-shirt) Sweater (/wiki/Sweater) cardigan (/wiki/Cardigan_(sweater)) guernsey (/wiki/Guernsey_(clothing)) hoodie (/wiki/Hoodie) jersey (/wiki/Jersey_(clothing)) polo neck (/wiki/Polo_neck) shrug (/wiki/Shrug_(clothing)) sweater vest (/wiki/Sweater_vest) twinset (/wiki/Twinset) Waistcoat (/wiki/Waistcoat) Trousers (/wiki/Trousers) Bell-bottoms (/wiki/Bell-bottoms) Bondage (/wiki/Bondage_pants) Capri (/wiki/Capri_pants) Cargo (/wiki/Cargo_pants) Chaps (/wiki/Chaps) Formal (/wiki/Formal_trousers) Go-to-hell (/wiki/Go-to-hell_pants) High water (/wiki/High-rise_(fashion)) Lowrise (/wiki/Low-rise_(fashion)) Jeans (/wiki/Jeans) Jodhpurs (/wiki/Jodhpurs) Overalls (/wiki/Overalls) Palazzo (/wiki/Palazzo_pants) Parachute (/wiki/Parachute_pants) Pedal pushers (/wiki/Pedal_pushers) Phat (/wiki/Phat_pants) Shorts (/wiki/Shorts) Bermuda (/wiki/Bermuda_shorts) dycling (/wiki/Cycling_shorts) dolphin (/wiki/Dolphin_shorts) gym (/wiki/Gym_shorts) hotpants (/wiki/Hotpants) running (/wiki/Running_shorts) Slim-fit (/wiki/Slim-fit_pants) Sweatpants (/wiki/Sweatpants) Windpants (/wiki/Windpants) Yoga pants (/wiki/Yoga_pants) Suits (/wiki/Suit) and uniforms (/wiki/Uniform) Ceremonial dress (/wiki/Ceremonial_dress) academic (/wiki/Academic_dress) court (/wiki/Court_dress) diplomatic (/wiki/Diplomatic_uniform) Folk (/wiki/Folk_costume) Jodhpuri (/wiki/Jodhpuri) Jumpsuit (/wiki/Jumpsuit) Military (/wiki/Military_uniform) full (/wiki/Full_dress_uniform) mess (/wiki/Mess_dress_uniform) service (/wiki/Service_dress_uniform) sailor (/wiki/Sailor_suit) combat (/wiki/Combat_uniform) Pantsuit (/wiki/Pantsuit) Religious (/wiki/Religious_clothing) cassock (/wiki/Cassock) clerical (/wiki/Clerical_clothing) vestment (/wiki/Vestment) School (/wiki/School_uniform) Prison (/wiki/Prison_uniform) Workwear (/wiki/Workwear) boilersuit (/wiki/Boilersuit) cleanroom (/wiki/Cleanroom_suit) hazmat (/wiki/Hazmat_suit) space (/wiki/Space_suit) scrubs (/wiki/Scrubs_(clothing)) Dresses (/wiki/Dress) and gowns (/wiki/Gown) Formal, semi- formal, informal Backless (/wiki/Backless_dress) Bouffant gown (/wiki/Bouffant_gown) Coatdress (/wiki/Coatdress) Cocktail (/wiki/Cocktail_dress) little black (/wiki/Little_black_dress) Evening (/wiki/Evening_gown) ball gown (/wiki/Ball_gown) debutante (/wiki/Debutante_dress) Plain (/wiki/Plain_dress) Prairie (/wiki/Prairie_dress) Princess line (/wiki/Princess_line) Strapless (/wiki/Strapless_dress) Wedding (/wiki/Wedding_dress) Wrap (/wiki/Wrap_dress) Casual House (/wiki/House_dress) Jumper (/wiki/Jumper_(dress)) Romper suit (/wiki/Romper_suit) Sheath (/wiki/Sheath_dress) Shirtdress (/wiki/Shirtdress) Slip (/wiki/Slip_dress) Sundress (/wiki/Sundress) Skirts (/wiki/Skirt) A-line (/wiki/A-line_(clothing)) Ballerina (/wiki/Ballerina_skirt) Denim (/wiki/Denim_skirt) Men's (/wiki/Men%27s_skirts) Miniskirt (/wiki/Miniskirt) Pencil (/wiki/Pencil_skirt) Prairie (/wiki/Prairie_skirt) Rah-rah (/wiki/Rah-rah_skirt) Sarong (/wiki/Sarong) Skort (/wiki/Skort) Tutu (/wiki/Tutu_(clothing)) Wrap (/wiki/Wrap_(clothing)) Underwear (/wiki/Underwear) and lingerie (/wiki/Lingerie) Top Bra (/wiki/Bra) Camisole (/wiki/Camisole) Undershirt (/wiki/Undershirt) Bottom Diaper (/wiki/Diaper) Training pants (/wiki/Training_pants) Leggings (/wiki/Leggings) Panties (/wiki/Panties) Plastic pants (/wiki/Plastic_pants) Slip (/wiki/Slip_(clothing)) Thong (/wiki/Thong) Underpants (/wiki/Underpants) boxer briefs (/wiki/Boxer_briefs) boxer shorts (/wiki/Boxer_shorts) briefs (/wiki/Briefs) Full Bodysuit, adult (/wiki/Bodysuit) Bodysuit, infant (/wiki/Infant_bodysuit) Long underwear (/wiki/Long_underwear) See-through (/wiki/See-through_clothing) Teddy (/wiki/Teddy_(garment)) Coats (/wiki/Coat) and outerwear (/wiki/List_of_outerwear) Overcoats (/wiki/Overcoat) Car (/wiki/Car_coat) Chesterfield (/wiki/Chesterfield_coat) Covert (/wiki/Covert_coat) Duffel (/wiki/Duffel_coat) Duster (/wiki/Duster_(clothing)) Greatcoat (/wiki/Greatcoat) British Warm (/wiki/British_Warm) Guards Coat (/wiki/Guards_Coat) Greca (/wiki/Greca_(clothing)) Over-frock (/wiki/Over-frock_coat) Riding (/wiki/Riding_coat) shadbelly (/wiki/Shadbelly) Trench (/wiki/Trench_coat) Ulster (/wiki/Ulster_coat) Cloak (/wiki/Cloak) opera (/wiki/Opera_cloak) Paletot (/wiki/Paletot) Pea (/wiki/Pea_coat) Polo (/wiki/Polo_coat) Raincoat (/wiki/Raincoat) Mackintosh (/wiki/Mackintosh) Suit coats Frock coat (/wiki/Frock_coat) bekishe (/wiki/Bekishe) rekel (/wiki/Rekel) Mess jacket (/wiki/Mess_jacket) Suit jacket (/wiki/Suit_jacket) Blazer (/wiki/Blazer) smoking (/wiki/Smoking_jacket) sports (/wiki/Sport_coat) Teba (/wiki/Teba_jacket) Tailcoat (/wiki/Tailcoat) dress (/wiki/White_tie#Dress_coat) morning (/wiki/Morning_dress#Morning_coat) Other Apron (/wiki/Apron) pinafore (/wiki/Pinafore) Blouson (/wiki/Blouson) Cagoule (/wiki/Cagoule) Cape (/wiki/Cape) ferraiolo (/wiki/Ferraiolo) Inverness (/wiki/Inverness_cape) Mantle (/wiki/Mantle_(clothing)) monastic (/wiki/Mantle_(monastic_vesture)) royal (/wiki/Mantle_(royal_garment)) mozzetta (/wiki/Mozzetta) pellegrina (/wiki/Pellegrina) Coatee (/wiki/Coatee) Cut-off (/wiki/Cut-off) Gilet (/wiki/Gilet) Jacket (/wiki/Jacket) down (/wiki/Down_jacket) flight (/wiki/Flight_jacket) goggle (/wiki/Goggle_jacket) 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Western dress code suited for office use Not to be confused with formal wear (/wiki/Formal_wear) , semi-formal wear (/wiki/Semi-formal_wear) , or casual wear (/wiki/Casual_wear) . This article has multiple issues. Please help improve it (/wiki/Special:EditPage/Informal_wear) or discuss these issues on the talk page (/wiki/Talk:Informal_wear) . ( Learn how and when to remove these template messages (/wiki/Help:Maintenance_template_removal) ) This article is written like a personal reflection, personal essay, or argumentative essay (/wiki/Wikipedia:What_Wikipedia_is_not#Wikipedia_is_not_a_publisher_of_original_thought) that states a Wikipedia editor's personal feelings or presents an original argument about a topic. Please help improve it (https://en.wikipedia.org/w/index.php?title=Informal_wear&action=edit) by rewriting it in an encyclopedic style (/wiki/Wikipedia:Writing_better_articles#Information_style_and_tone) . 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( August 2013 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Shinzo Abe (/wiki/Shinzo_Abe) and Ivanka Trump (/wiki/Ivanka_Trump) , both wearing Western business suits (/wiki/Suit) (2017) Part of a series (/wiki/Category:Formal_wear) on Western dress codes (/wiki/Western_dress_codes) and corresponding attires (/wiki/Clothing) Formal (/wiki/Formal_wear) ( full dress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) ) White tie (/wiki/White_tie) Morning dress (/wiki/Morning_dress) Full dress uniform (/wiki/Full_dress_uniform) Frock coat (/wiki/Frock_coat) Evening gown (/wiki/Evening_gown) Ball gown (/wiki/Ball_gown) Semi-formal (/wiki/Semi-formal_wear) ( half dress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) ) Black tie (/wiki/Black_tie) Black lounge suit (/wiki/Black_lounge_suit) Mess dress uniform (/wiki/Mess_dress_uniform) Evening gown (/wiki/Evening_gown) Cocktail dress (/wiki/Cocktail_dress) Informal ( undress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) , "dress clothes") Suit (/wiki/Suit) Service dress uniform (/wiki/Service_dress_uniform) Cocktail dress (/wiki/Cocktail_dress) Pantsuit (/wiki/Pantsuit) Casual (/wiki/Casual_wear) (anything not above) Business casual (/wiki/Business_casual) Casual Friday (/wiki/Casual_Friday) Combat uniform (/wiki/Combat_uniform) Smart casual (/wiki/Smart_casual) Workwear (/wiki/Workwear) Streetwear (/wiki/Streetwear) Sportswear (/wiki/Sportswear) known as Sportswear (fashion) (/wiki/Sportswear_(fashion)) and Athleisure (/wiki/Athleisure) Undress (/wiki/Undress_code) Supplementary alternatives Ceremonial dress (/wiki/Ceremonial_dress) law courts (/wiki/Court_dress) royal courts (/wiki/Court_uniform_and_dress_in_the_United_Kingdom) diplomatic (/wiki/Diplomatic_uniform) academic (/wiki/Academic_dress) , etc. Religious clothing (/wiki/Religious_clothing) cassock (/wiki/Cassock) , habit (/wiki/Religious_habit) , etc. Folk costume (/wiki/Folk_costume) Distinctions Orders (/wiki/Order_(distinction)) medals (/wiki/Medal) , etc. Legend: = Day (before 6 p.m.) = Evening (after 6 p.m.) = Bow tie (/wiki/Bow_tie) colour = Ladies = Gentlemen Fashion portal (/wiki/Portal:Fashion) v t e Informal wear or undress , also called business wear, corporate/office wear , tenue de ville or dress clothes , is a Western dress code (/wiki/Western_dress_codes) for clothing (/wiki/Clothing) defined by a business suit (/wiki/Business_suit) for men, and cocktail dress (/wiki/Cocktail_dress) or pant suit (/wiki/Pant_suit) for women. On the scale of formality, it is considered less formal than semi-formal wear (/wiki/Semi-formal_wear) but more formal than casual wear (/wiki/Casual_wear) . Informal or undress should not be confused with casual wear such as business casual (/wiki/Business_casual) or smart casual (/wiki/Smart_casual) ; most situations calling for “informal wear” will usually tolerate casual dress to varying extents. The suit originated as leisure wear in the late 19th century but eventually replaced the frock coat (/wiki/Frock_coat) as everyday wear in the city. After World War I (/wiki/World_War_I) , the suit was established as informal daily wear. Hats (/wiki/Hat) , such as fedora (/wiki/Fedora) or bowler hats (/wiki/Bowler_hat) , are sometimes worn with informal wear. Informal wear is commonly applied for office (/wiki/Office) use in professions like politics (/wiki/Politics) , academia (/wiki/Academia) , law (/wiki/Law) and finance (/wiki/Finance) , business (/wiki/Business) , as well as certain events such as job interviews (/wiki/Job_interviews) in other sectors. It is a traditional dress code that aims to indicate respect to the situation and not draw attention. [1] (#cite_note-:0-1) History [ edit ] The suit (/wiki/Suit_(clothing)) originated in Britain in the 19th-century as a leisurewear. Seeking a casual alternative to the knee-length, heavy frock coats (/wiki/Frock_coat) then considered appropriate business dress, men began to wear lighter coats cut just below the seat when not engaged in business. Standard suit-making fabric is fine combed wool, with the inclusion of cashmere in more expensive fabrics. Middle-price suits are often made of wool-polyester blends, whilst the cheapest are made entirely of polyester fabric. This business suit (also known as the "sack suit" in North America (/wiki/North_America) , commonly by Brooks Brothers (/wiki/Brooks_Brothers) ) became the standard business daywear for all men who were not engaged in physical labor. The waistcoat (British) or vest (/wiki/Vest) (American) was worn regularly with the suit up to World War II (/wiki/World_War_II) , but is rarely seen today, due to central heating in offices and the expense of construction. Until at least the early 1960s it was common to wear a hat. In general, business suits are characterized by three styles and a fourth fusion style. English suits are noted for having a "touch fit" to the wearer's body shape and carefully made padded shoulders. Italian suits are often slimmer, with higher armholes and highly shaped to complement a slim physique. Traditional American suits have lightly padded shoulders and loose natural fit with minimal shaping. Since the 1960s, designer brands (especially Polo Ralph Lauren) have created fusion style that brings a more shaped European look to the natural American cut. Suits in Britain were often made in tweed (/wiki/Tweed_(cloth)) , often with three pieces, and were worn outside the City of London (/wiki/City_of_London) . Tweed is made from uncombed wool, and, like all fabrics from the time, was thick and durable (18-ounce was considered medium-weight in the Edwardian era). A full tweed suit is less common today, with just tweed sports jackets (/wiki/Sports_jacket) more often worn, but is still used generally as everyday wear by some, and for outdoor sports such as shooting and angling. It is worn with appropriate accompanying clothes, much as any other suit; brown full brogues and wool ties are common items not worn with other types of suit. Etiquette [ edit ] Informal attire is today considered a form of dress customarily appropriate for all formal settings, which do not explicitly require white tie (/wiki/White_tie) or black tie (/wiki/Black_tie) . For instance, it is commonly worn to religious services and funerals, in government offices and schools. Some professions, like law or finance, may require it. Because of its strong association with the business world, informal attire is also known as international standard business dress, business professional or business formal . Boys and men [ edit ] Dress socks (/wiki/Dress_socks) , differentiated from normal socks by a tighter fit and traditionally dark colors. Underpants (/wiki/Underpants) , seen as required by casual and above. Dress pants (/wiki/Suit#Trousers) , generally monochrome, and in a dark color or khaki colored pants. This does not normally include jeans (/wiki/Jeans) . Dress shoes (/wiki/Dress_shoes) , brown or black leather shoes. This can also include boat shoes (/wiki/Boat_shoe) . Dress shirt (/wiki/Dress_shirt) , traditionally white, cream, or light blue, but pastel pink and lavender may be viewed as equally appropriate; checkered and striped shirts are seen as acceptable in most circumstances Polo shirt (/wiki/Polo_shirt) , replacing the dress shirt, this has seen a surge in fashion starting in the mid to late 2010s. Girls and women [ edit ] Condoleezza Rice (/wiki/Condoleezza_Rice) , United States Secretary of State (/wiki/United_States_Secretary_of_State) , and Abdullah Gül (/wiki/Abdullah_G%C3%BCl) , President of Turkey (/wiki/President_of_Turkey) , in informal wear (2010) Tights (/wiki/Tights) , Pantyhose (/wiki/Pantyhose) , knee highs (/wiki/Knee_highs) , stockings (/wiki/Stocking) , or leggings (/wiki/Leggings) generally covering the legs is good practice Undergarments (/wiki/Undergarment) , such as a bra and panties, the latter seen as required in casual and above One of: Slacks (/wiki/Slacks) and a blouse (/wiki/Blouse) , turtleneck or sweater or A skirt (/wiki/Skirt) and a blouse (/wiki/Blouse) , turtleneck or sweater or A dress (/wiki/Dress) Dress shoes (/wiki/Dress_shoe) , for example ballet flats (/wiki/Ballet_flat) , riding boots, boat shoes, loafers, or pumps. Makeup (/wiki/Makeup) ; [2] (#cite_note-forbes-2) however, more and more people are wearing less and less makeup See also [ edit ] Western dress codes (/wiki/Western_dress_codes) Suit (/wiki/Suit) Semi-formal wear (/wiki/Semi-formal_wear) Formal wear (/wiki/Formal_wear) Casual wear (/wiki/Casual_wear) References [ edit ] ^ (#cite_ref-:0_1-0) "Business Professional Attire for Men: The Complete Guide" (https://web.archive.org/web/20160923195336/http://successattire.com/business-professional-attire/) . Success Attire . Sep 10, 2016. Archived from the original (http://successattire.com/business-professional-attire/) on 2016-09-23 . Retrieved Sep 23, 2016 . ^ (#cite_ref-forbes_2-0) Dress for Success at Forbes.com External links [ edit ] v t e Parties (/wiki/Party) and festivals (/wiki/Festival) Sorted by occasions, purposes or attributes Types Wedding (/wiki/Wedding) -related Bachelor party (/wiki/Bachelor_party) Bachelorette party (/wiki/Bachelorette_party) Bridal shower (/wiki/Bridal_shower) Engagement party (/wiki/Engagement_party) Wedding reception (/wiki/Wedding_reception) Eid al-Adha (/wiki/Eid_al-Adha) Eid al-Fitr (/wiki/Eid_al-Fitr) Banquets (/wiki/Banquet) Eid cuisine (/wiki/Eid_cuisine) State banquet (/wiki/State_banquet) Ball (/wiki/Ball_(dance_event)) Debutante ball (/wiki/Debutante_ball) Hunt ball (/wiki/Hunt_ball) Symposium (/wiki/Symposium) House parties (/wiki/House_party) Family reunion (/wiki/Family_reunion) Cocktail party (/wiki/Cocktail_party) Housewarming party (/wiki/Housewarming_party) Sleepover (/wiki/Sleepover) LAN party (/wiki/LAN_party) Political houseparty (/wiki/Political_houseparty) 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(https://commons.wikimedia.org/wiki/Category:Parties) Category (/wiki/Category:Parties) v t e Fashion (/wiki/Fashion) articles Index of fashion articles (/wiki/Index_of_fashion_articles) General Environmental impact of fashion (/wiki/Environmental_impact_of_fashion) Fashion accessory (/wiki/Fashion_accessory) Fashion design (/wiki/Fashion_design) Fashion design copyright (/wiki/Fashion_design_copyright) Fashion matrix (/wiki/Fashion_matrix) Fashion museum (/wiki/Fashion_museum) Fashion plate (/wiki/Fashion_plate) Fashion tourism (/wiki/Fashion_tourism) Semiotics of fashion (/wiki/Semiotics_of_fashion) History (/wiki/History_of_fashion_design) History of clothing and textiles (/wiki/History_of_clothing_and_textiles) History of Western fashion (/wiki/History_of_Western_fashion) History of fashion design (/wiki/History_of_fashion_design) Timeline of clothing and textiles technology (/wiki/Timeline_of_clothing_and_textiles_technology) 19th century (/wiki/19th_century_in_fashion) 21st 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Chaps (/wiki/Chaps) Formal (/wiki/Formal_trousers) Go-to-hell (/wiki/Go-to-hell_pants) High water (/wiki/High-rise_(fashion)) Lowrise (/wiki/Low-rise_(fashion)) Jeans (/wiki/Jeans) Jodhpurs (/wiki/Jodhpurs) Overalls (/wiki/Overalls) Palazzo (/wiki/Palazzo_pants) Parachute (/wiki/Parachute_pants) Pedal pushers (/wiki/Pedal_pushers) Phat (/wiki/Phat_pants) Shorts (/wiki/Shorts) Bermuda (/wiki/Bermuda_shorts) dycling (/wiki/Cycling_shorts) dolphin (/wiki/Dolphin_shorts) gym (/wiki/Gym_shorts) hotpants (/wiki/Hotpants) running (/wiki/Running_shorts) Slim-fit (/wiki/Slim-fit_pants) Sweatpants (/wiki/Sweatpants) Windpants (/wiki/Windpants) Yoga pants (/wiki/Yoga_pants) Suits (/wiki/Suit) and uniforms (/wiki/Uniform) Ceremonial dress (/wiki/Ceremonial_dress) academic (/wiki/Academic_dress) court (/wiki/Court_dress) diplomatic (/wiki/Diplomatic_uniform) Folk (/wiki/Folk_costume) Jodhpuri (/wiki/Jodhpuri) Jumpsuit (/wiki/Jumpsuit) Military (/wiki/Military_uniform) full (/wiki/Full_dress_uniform) mess (/wiki/Mess_dress_uniform) service (/wiki/Service_dress_uniform) sailor (/wiki/Sailor_suit) combat (/wiki/Combat_uniform) Pantsuit (/wiki/Pantsuit) Religious (/wiki/Religious_clothing) cassock (/wiki/Cassock) clerical (/wiki/Clerical_clothing) vestment (/wiki/Vestment) School (/wiki/School_uniform) Prison (/wiki/Prison_uniform) Workwear (/wiki/Workwear) boilersuit (/wiki/Boilersuit) cleanroom (/wiki/Cleanroom_suit) hazmat (/wiki/Hazmat_suit) space (/wiki/Space_suit) scrubs (/wiki/Scrubs_(clothing)) Dresses (/wiki/Dress) and gowns (/wiki/Gown) Formal, semi- formal, informal Backless (/wiki/Backless_dress) Bouffant gown (/wiki/Bouffant_gown) Coatdress (/wiki/Coatdress) Cocktail (/wiki/Cocktail_dress) little black (/wiki/Little_black_dress) Evening (/wiki/Evening_gown) ball gown (/wiki/Ball_gown) debutante (/wiki/Debutante_dress) Plain (/wiki/Plain_dress) Prairie (/wiki/Prairie_dress) Princess line (/wiki/Princess_line) Strapless (/wiki/Strapless_dress) Wedding (/wiki/Wedding_dress) Wrap (/wiki/Wrap_dress) Casual House (/wiki/House_dress) Jumper (/wiki/Jumper_(dress)) Romper suit (/wiki/Romper_suit) Sheath (/wiki/Sheath_dress) Shirtdress (/wiki/Shirtdress) Slip (/wiki/Slip_dress) Sundress (/wiki/Sundress) Skirts (/wiki/Skirt) A-line (/wiki/A-line_(clothing)) Ballerina (/wiki/Ballerina_skirt) Denim (/wiki/Denim_skirt) Men's (/wiki/Men%27s_skirts) Miniskirt (/wiki/Miniskirt) Pencil (/wiki/Pencil_skirt) Prairie (/wiki/Prairie_skirt) Rah-rah (/wiki/Rah-rah_skirt) Sarong (/wiki/Sarong) Skort (/wiki/Skort) Tutu (/wiki/Tutu_(clothing)) Wrap (/wiki/Wrap_(clothing)) Underwear (/wiki/Underwear) and lingerie (/wiki/Lingerie) Top Bra (/wiki/Bra) Camisole (/wiki/Camisole) Undershirt (/wiki/Undershirt) Bottom Diaper (/wiki/Diaper) Training pants (/wiki/Training_pants) Leggings (/wiki/Leggings) Panties (/wiki/Panties) Plastic pants (/wiki/Plastic_pants) Slip (/wiki/Slip_(clothing)) Thong (/wiki/Thong) Underpants (/wiki/Underpants) boxer briefs 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Costume in the first half of the 16th century This article includes a list of general references (/wiki/Wikipedia:Citing_sources) , but it lacks sufficient corresponding inline citations (/wiki/Wikipedia:Citing_sources#Inline_citations) . Please help to improve (/wiki/Wikipedia:WikiProject_Reliability) this article by introducing (/wiki/Wikipedia:When_to_cite) more precise citations. ( April 2017 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Portrait of the family of Sir Thomas More (/wiki/Thomas_More) shows English fashions around 1528. Fashion in the period 1500–1550 in Europe is marked by very thick, big and voluminous clothing worn in an abundance of layers (one reaction to the cooling temperatures of the Little Ice Age (/wiki/Little_Ice_Age) , especially in Northern Europe and the British Isles). Contrasting fabrics, slashes, embroidery (/wiki/Embroidery) , applied trims, and other forms of surface ornamentation became prominent. The tall, narrow lines of the late Medieval (/wiki/Medieval) period were replaced with a wide silhouette, conical for women with breadth at the hips and broadly square for men with width at the shoulders. Sleeves were a center of attention, and were puffed, slashed, cuffed, and turned back to reveal contrasting linings (/wiki/Lining_(sewing)) . Henry VIII of England (/wiki/Henry_VIII_of_England) (ruled 1509–1547) and Francis I of France (/wiki/Francis_I_of_France) (ruled 1515–1547) strove to host the most glittering Renaissance (/wiki/Renaissance) court, culminating in the festivities around the Field of Cloth of Gold (/wiki/Field_of_Cloth_of_Gold) (1520). [1] (#cite_note-1) But the rising power was Charles V (/wiki/Charles_V,_Holy_Roman_Emperor) , king of Spain (/wiki/Spain) , Naples (/wiki/Naples) , and Sicily (/wiki/Sicily) from 1516, heir to the style as well as the riches of Burgundy (/wiki/Duchy_of_Burgundy) , and Holy Roman Emperor (/wiki/Holy_Roman_Emperor) from 1520. The inflow of gold and silver from the New World (/wiki/New_World) into recently united Spain changed the dynamics of trade throughout Western Europe, ushering in a period of increased opulence in clothing that was tempered by the Spanish taste for sombre richness of dress that would dominate the second half of the century. [2] (#cite_note-2) [3] (#cite_note-3) This widespread adoption of Hispanic court attire in Europe was seen as a sign of allegiance to the empire of Charles V (/wiki/Charles_V,_Holy_Roman_Emperor) . [4] (#cite_note-4) Regional variations in fashionable clothing that arose in the 15th century became more pronounced in the sixteenth. In particular, the clothing of the Low Countries, German states, and Scandinavia (/wiki/Scandinavia) developed in a different direction than that of England (/wiki/England) , France (/wiki/France) , and Italy (/wiki/Italy) , although all acknowledged the sobering and formal influence of Spanish dress after the mid-1520s. [5] (#cite_note-5) Linen (/wiki/Linen) shirts (/wiki/Shirt) and chemises (/wiki/Chemise) or smocks had full sleeves and often full bodies, pleated or gathered closely at neck and wrist. The resulting small frill gradually became a wide ruffle, presaging the ruff (/wiki/Ruff_(clothing)) of the latter half of the century. These garments were often decorated with embroidery (/wiki/Embroidery) in black or red silk, and occasionally with gold metal threads if the garment was meant to be flashier of ones wealth. [6] (#cite_note-6) The bodice was boned and stiffened to create a more structured form, and often a busk was inserted to emphasise the flattening and elongation of the torso. [7] (#cite_note-7) Small geometric patterns appeared early in the period and, in England, evolved into the elaborate patterns associated with the flowering of blackwork embroidery (/wiki/Blackwork_embroidery) . German shirts and chemises were decorated with wide bands of gold trim at the neckline, which was uniformly low early in the period and grew higher by midcentury. Silk brocades (/wiki/Brocade) and velvets (/wiki/Velvet) in bold floral patterns based on pomegranate (/wiki/Pomegranate) and thistle (/wiki/Thistle) or artichoke (/wiki/Artichoke) motifs (/wiki/Motif_(visual_arts)) remained fashionable for those who could afford them, although they were often restricted to kirtles (/wiki/Kirtle) , undersleeves and doublets (/wiki/Doublet_(clothing)) revealed beneath gowns of solid-coloured fabrics or monochromatic figured silks. Yellow and red were fashionable colours. [8] (#cite_note-8) Inspired by the mended uniforms of the Swiss soldiers after the country's 1477 victory over the Duke of Burgundy, elaborate slashing remained popular, especially in Germany, where a fashion arose for assembling garments in alternating bands of contrasting fabrics. [9] (#cite_note-Wilcox-9) Elsewhere, slashing was more restrained, but bands of contrasting fabric called guards , whether in colour or texture, were common as trim on skirts, sleeves, and necklines. These were often decorated with bands of embroidery or applied passementerie (/wiki/Passementerie) . Bobbin lace (/wiki/Bobbin_lace) arose from passementerie in this period, probably in Flanders (/wiki/Flanders) , [10] (#cite_note-10) and was used both as an edging and as applied trim; it is called passamayne in English inventories. [11] (#cite_note-Lost-11) The most fashionable furs were the silvery winter coat of the lynx (/wiki/Lynx) and dark brown (almost black) sable. [12] (#cite_note-12) Women's fashion [ edit ] Overview [ edit ] Anne of Brittany (/wiki/Anne_of_Brittany) , Queen of France, and her ladies wear round hoods over linen caps. Anne's gown is open at the front to reveal a figured silk kirtle beneath. The gowns have wide sleeves with turned-back cuffs lined in fur, 1508. Anne Stafford wears a black fur-lined gown with turned-back sleeves over a dark kirtle [13] (#cite_note-13) She wears a soft sash at her waist and a sheer partlet over a square-necked chemise, c. 1535. Portrait of Catherine Parr (/wiki/Catherine_Parr) , sixth queen of Henry VIII. English or French fashion of 1545: the trumpet-sleeved "French" or "Tudor dress", worn over a farthingale and false undersleeves with a matching forepart. The turned-back cuffs are lined with fur. [14] (#cite_note-14) Women's fashions of the early 16th century consisted of a long gown, usually with sleeves, worn over a kirtle or undergown, with a linen chemise or smock (/wiki/Chemise) worn next to the skin. The high-waisted gown of the late medieval (/wiki/Medieval) period evolved in several directions in different parts of Europe. In the German states and Bohemia (/wiki/Bohemia) , gowns remained short-waisted, tight-laced but without corsets (/wiki/Corset) or stays. The open-fronted gown laced over the kirtle or a stomacher or plackard (/wiki/Stomacher) . Sleeves were puffed and slashed, or elaborately cuffed. In France, England, and Flanders, the high waistline gradually descended to the natural waist in front (following Spanish fashion) and then to a V-shaped point. Cuffs grew larger and were elaborately trimmed. Hoop skirts or farthingales (/wiki/Farthingale) had appeared in Spain at the very end of the 15th century, and spread to England and France over the next few decades. Stays also appeared during this period. A variety of hats (/wiki/Hat) , caps (/wiki/Cap) , hoods, hair nets, and other headdresses were worn, with strong regional variations. Shoes were flat, with broad square toes. German fashion [ edit ] Portrait of a German woman, wears a black round shoulder-capelet Partlet, circa 1525. In the first half of the 16th century, German dress varied widely from the costume worn in other parts of Europe. Skirts were cut separately from bodices, though often were sewn together, and the open-fronted gown laced over a kirtle with a wide band of rich fabric, often jeweled and embroidered, across the bust. Partlets (/wiki/Partlet) (called in German gollers or collars) were worn with the low-cut bodice to cover the neck and shoulders, and were made in a variety of styles. The most popular goller was a round shoulder-capelet, frequently of black velvet lined in silk or fur, with a standing neckband; this goller would remain in use in some parts of Germany into the 17th century and became part of national dress (/wiki/National_dress) in some areas. [15] (#cite_note-:0-15) Narrow sleeves were worn in the earliest years of the century, and were later decorated with bands of contrasting fabric and rows of small panes or strips over puffed linings. Skirts were trimmed with bands of contrasting fabric, but were closed all around. They would be worn draped up to display an underskirt. From 1530, elements of Spanish dress were rapidly adopted in fashionable Germany under the influence of the imperial court of Charles V. [15] (#cite_note-:0-15) Gowns [ edit ] Portrait of Anne Boleyn (/wiki/Anne_Boleyn) , wife of Henry VIII of England, depicting Anne in c.1533, wearing a French hood trimmed with pearls, and a square-necked black velvet gown decorated with the same pearls and embroidery, and furred sleeves. Dress in Holland, Belgium, and Flanders, now part of the Empire, retained a high, belted waistline longest. Italian gowns were fitted to the waist, with full skirts below. The French gown of the first part of the century was loosely fitted to the body and flared from the hips, with a train (/wiki/Train_(clothing)) . The neckline was square and might reveal the kirtle and chemise beneath. Cuffed sleeves were wide at the wrist and grew wider, displaying a decorated undersleeve attached to the kirtle. The gown fastened in front early, sometimes lacing over the kirtle or a stomacher, and the skirt might be slit in front or the train tucked up in back to display the skirt of the kirtle. As a fitted style emerged under Spanish influence, the gown was made as a separate bodice (/wiki/Bodice) and skirt; this bodice usually fastened at the side or the side-back with hooks and eyes or lacing. From the 1530s, French and English fashions featured an open, square-necked gown with long sleeves fitted smoothly over a tight, sometimes boned kirtle (/wiki/Kirtle) or pair of bodies (/wiki/Bodice) , (later in the century) and a farthingale. With the smooth, conical line of the skirt, the front of the kirtle or petticoat was displayed, and a decorated panel called a forepart , heavily embroidered and sometimes jeweled, was pinned to the petticoat or directly to the farthingale. The earlier cuffed sleeves evolved into trumpet sleeves , tight on the upper arm and flared below, with wide, turned back cuffs (often lined with fur) worn over full undersleeves that might match the decorated forepart. At the very end of the period, full round sleeves (perhaps derived from Italian fashions) began to replace the flaring trumpet sleeves, which disappeared by the later 1550s. Fabric or chain girdles were worn at the waist and hung down to roughly knee length; a tassel or small prayer book or purse might be suspended from the girdle. The low neckline of the dress could be filled with a partlet (/wiki/Partlet) . Black velvet partlets lined in white with a high, flared neckline were worn pinned over the gown. Partlets of the same rich fabric as the bodice of the gown give the appearance of a high-necked gown. Sheer or opaque linen partlets were worn over the chemise or smock, and high-necked smocks began to appear; toward 1550 these might have a small standing collar with a ruffle, which would become the pleated ruff (/wiki/Ruff_(clothing)) of the next period (/wiki/1550%E2%80%931600_in_fashion) . Commoner's dress [ edit ] A woman wears a red kirtle over her smock by Joachim Beuckelaer (/wiki/Joachim_Beuckelaer) , (1566). For the middle and lower classes, clothing would have been a much more practical affair. Over the smock, the kirtle (/wiki/Kirtle) would be worn. Depending on the weather and occasion, a simple gown would have been worn over the kirtle. This gown could be laced in the front or could sometimes be closed at the side of the bodice with hooks and eyes. [16] (#cite_note-16) The kirtle would most likely be laced, stiffened with buckram or sometimes reed, and made of wool. [17] (#cite_note-17) There are not many surviving pieces of clothing attributed to the lower classes, so most information is taken from portraits. Hats and headgear [ edit ] In France, England, and the Low Countries, black hoods with veils at the back were worn over linen undercaps that allowed the front hair (parted in the middle) to show. These hoods became more complex and structured over time. Unique to England was the gable hood (/wiki/Gable_hood) , a wired headdress shaped like the gable of a house. In the 16th century gable headdress had long embroidered lappets framing the face and a loose veil behind; later the gable hood would be worn over several layers that completely concealed the hair, and the lappets and veil would be pinned up in a variety of ways. Albrecht Dürer (/wiki/Albrecht_D%C3%BCrer) 's Young Woman of 1507 wears hat called a barett , popular in the German states. A simple rounded hood of the early years of the century evolved into the French hood (/wiki/French_hood) , popular in both France and England; its arched shape sat further back on the head and displayed the front hair which was parted in the center and pinned up in braids or twists under the veil. German women adopted hats like fashionable men's baretts early in the century; these were worn over caps or cauls ( colettes ) made of netted cord over a silk lining. [18] (#cite_note-18) Hats became fashionable in England as an alternative to the hood toward the 1540s. Close fitting caps of fur were worn in cold climates. Linen caps called coifs (/wiki/Coif) were worn under the fur cap, hood or hat. In warmer climates including Italy and Spain, hair was more often worn uncovered, braided or twisted with ribbons and pinned up, or confined in a net. A Spanish style of the later 15th century was still worn in this period: the hair was puffed over the ears before being drawn back at chin level into a braid or wrapped twist at the nape. First-time brides wore their hair loose, in token of virginity, and a wreath or chaplet of orange blossoms was traditional. A jeweled wreath with enameled (/wiki/Vitreous_enamel) "orange blossoms" was sometimes worn. Jewellery and accessories [ edit ] Portrait of Eleanor of Toledo (/wiki/Eleanor_of_Toledo) , depicted here wearing a pair of pearl earrings (/wiki/Earring) , pearl necklaces (/wiki/Necklace) , golden belt, decorated with jewels and beads with a tassel, may have been made by the goldsmith Benvenuto Cellini (/wiki/Benvenuto_Cellini) . Women of wealth wore gold chains and other precious jewelry--; collar-like necklaces (/wiki/Necklace) called carcanets , earrings (/wiki/Earring) , bracelets (/wiki/Bracelet) , rings (/wiki/Ring_(finger)) , and jewelled pins. Bands of jeweler's work were worn as trim by the nobility, and would be moved from dress to dress and reused. Large brooches were worn to pin overpartlets to the dress beneath. Dress hooks (/wiki/Dress_hook) , of silver gilt (/wiki/Silver_gilt) for the wealthy and of base metal (/wiki/Base_metal) for the lower classes, were worn to loop up skirts. [19] (#cite_note-AJ-19) [20] (#cite_note-Johnson-20) Chatelaine was a common accessory for women, as it was often was hung from below the belt as an extension, either decorated with charms or used as tools by working women. This can be seen in many paintings at the time and on gravestones. The accessory was a staple until it was replaced by the purse in the late 1800s. A fashionable accessory was the zibellino (/wiki/Zibellino) , the pelt (/wiki/Fur) of a sable (/wiki/Sable) or marten (/wiki/Marten) worn draped at the neck or hanging at the waist; some costume historians call these "flea furs". The most expensive zibellini had faces and paws of goldsmith's work with jewelled eyes. [21] (#cite_note-Med2-21) Beauty standards [ edit ] Venus and Mars , c 1483. Tempera on panel, 69 cm x 173 cm Portraits produced during the Renaissance provide an invaluable resource for visualizing and understanding the beauty ideals of the period. Sandro Botticelli's Venus and Mars , painted between 1480-1490 depicts Venus as the ultimate amalgamation of female physical beauty. [22] (#cite_note-22) Her face is perfectly symmetrical, her skin is unblemished and pure white, her hair is light in colour and slightly waved, her forehead is high, her eyebrows are severely arched, her lips are red and full and her abdomen and hips protrude slightly under her thin garment. [23] (#cite_note-23) Palma, Jacopo (il Vecchio) - La Bella - c. 1525 Women sometimes applied toxic substances to their faces and chests such as mercury (/wiki/Mercury_(element)) , alum (/wiki/Alum) , and ceruse (/wiki/Ceruse) to lighten the skin and remove freckles, as the ideal was loosely 'natural'. However, these products, such as ceruse, a lead derivative, severely irritated the skin, leaving women's faces blemished and burned. Although safer alternatives existed, women preferred the consistency and coverage offered by ceruse. Not all cosmetics were dangerous, many women relied on lotions and balms containing almonds, olive oil, lemon juice, bread crumbs, eggs, honey, rosewater and snake fat to clarify and cleanse the skin. Red lips and rosy cheeks were achieved primarily through the application of vermilion (/wiki/Vermilion) ; ceruse mixed with organic dyes such as henna (/wiki/Henna) and cochineal (/wiki/Cochineal) (a powder made from the ground exoskeleton of insects). In Italy especially, women sought to achieve the light tresses that were viewed as the ideal. Women applied mixtures of lemon juice, alum and white wine and sat in the sun to lighten their hair. In order to produce loose curls, women wrapped hair saturated in gum arabic (/wiki/Gum_arabic) or beer around clay curlers. [24] (#cite_note-24) Finally, the appearance of a high forehead was achieved by plucking hairs along the hairline, and severely arching or removing the eyebrows altogether. [25] (#cite_note-25) Although at this time, women could not cosmetologically alter the symmetry of their face, or the structure of their nose in order to obtain the ideal, the products available allowed them to come close. Style gallery – German States and the Low Countries 1500s–1520s [ edit ] 1 – 1502–03 2 – c 1506 3 – 1514 4 – 1525–30 5 – 1526 6 – 1526 Bride 7 – 1526–30 8 – 1529 Anna Cuspinian (/wiki/File:Lucas_Cranach_d._%C3%84._036.jpg) wears a rose-pink brocade gown with a high belt and black collar and cuffs with a large headdress 1502–03. St Dorothea (/wiki/File:Lucas_Cranach_d._A._025.jpg) wears a black goller or round partlet over a gown with an organ-pleated skirt and a snug bodice trimmed with embroidery. She wears pieced sleeves derived from Italian styles with puffs at the elbows and shoulders, a heavy gold chain, and a gold filigree carcanet or necklace, 1506. Duchess Katharina von Mecklenburg (/wiki/File:Lucas_Cranach_d._%C3%84._038.jpg) wears a front-laced gown in the German fashion, with broad bands of contrasting materials, tight sleeves, and slashes at the elbow, 1514. Three ladies (/w/index.php?title=File:3-vornehm-Damen-1525.jpg&action=edit&redlink=1) in German fashion of 1525–30. Baretts with upturned slashed brims are worn over cauls, and sleeves are variously puffed, pieced, and slashed, with short wide cuffs extending over the hands. Katharina von Bora (/wiki/File:Katharina-v-Bora-1526.jpg) wears a front-laced grayish gown with black trim. She wears a white partlet edged in black, and her hair is confined in a net or snood, 1526. Princess Sibylle von Cleves (/wiki/File:Lucas_Cranach_d._%C3%84._040.jpg) as a bride wears a tight-waisted gown with slashed and puffed sleeves over a high-necked chemise with a wide band at the neck. Her loose hair and the jeweled wreath of orange blossoms indicate that this is a bridal painting, 1526. Widows (/wiki/File:Meyers_frauen.jpg) in the Netherlands wear 'barbes' or wimples with linen headdresses, 1526–30. Woman spinning (/wiki/File:Marten_van_Heemskerck_002.jpg) of 1529 wears the linen cap and hood and black partlet characteristic of middle-class costume in the Netherlands in the 1520s. Style gallery – German States and the Low Countries 1530s–1540s [ edit ] 1 – 1538 Mourning 2 – 1538–39 3 – 1539 4 – c. 1540s 5 – 1542 6 – 1542 7 – 1545 8 – 1548 Christina of Denmark, Duchess of Milan (/wiki/Portrait_of_Christina_of_Denmark) in mourning (/wiki/Mourning) wears a black robe with a fur lining over a black gown. She wears a close-fitting black cap, 1538. German fashion (/w/index.php?title=File:Museo_thyssen_g_427_339.jpg&action=edit&redlink=1) includes a high-waisted gown with wide sleeves trimmed with bands of contrasting fabric worn with a wide belt. Undersleeves (probably attached the kirtle) have ruffled cuffs lined in red. A black parlet is worn. The headdress consists of a decorated cap and a short, sheer veil turned up in "wings" at either cheek, 1538–39 Anne of Cleves (/wiki/File:Portrait_Anne_of_Cleves_by_Hans_Holbein_the_Younger_(Louvre).jpg) wears a red gown with a high waist confined with a belt. Her sleeves have broad puffs on the upper arm and wide, open lower sleeves. Her cap or hood has a sheer veil draped over it, 1539. Anne of Cleves (/wiki/File:Bruyn_Anne_of_Cleves.jpg) wears a front-laced full-sleeved gown of bands of red-gold brocade and black with ruffled cuffs that display the chemise cuffs beneath. Her headdress consists of a short sheer veil and embroidered hood; a red undercap or forehead band is visible at the temples, 1540s. Woman holding a silver rosary (/wiki/File:Bruyn_c_1542.jpg) wears a linen headdress and veil. Her gown is confined with a wide belt at the high waist, and she wears a black partlet that reveals a red kirtle over her high-necked chemise trimmed with gold embroidery, 1542. Flemish costume (/wiki/File:Willem_Key_1542.jpg) of 1542 features turned-back trumpet sleeves lined in fur and a black partlet. The high-necked chemise of fine linen has ruffles at the wrist, and a linen hood with a veil is worn. Christoph Amberger's Unknown Woman (/wiki/File:Christoph_Amberger_004.jpg) wears a finely pleated partlet or high-necked chemise with a high collar and small ruff beneath her gown. Her close-fitting cap may be similar to that worn by Anne of Cleves under her veil, c. 1545. Self-portrait (/wiki/File:Hemessen-Selbstbildnis.jpg) of Caterina van Hemessen (/wiki/Caterina_van_Hemessen) show the painter in a black overpartlet and red velvet undersleeves, 1548. Style gallery – Italy and Spain 1500s–1520s [ edit ] 1 – 1505 2 – c. 1505 3 – c. 1505 4 – 1510 5 – 1511 6 – 1516 7 – 1518 8 – ?1527 Maddalena Doni (/wiki/File:Raffael_036.jpg) wears a rose-colored gown with contrasting blue sleeves. She wears a sheer shoulder cape or open partlet with a dark edging, 1505. Spanish fashion (/wiki/File:Ladyhare.jpg) : A velvet gown with slashed sleeves is worn over a chemise embroidered in black silk at the neckline (visible beneath the net partlet) and in bands down the wide sleeves, Toledo, c. 1505. Venetian woman (/wiki/File:Albrecht_D%C3%BCrer_089.jpg) wears a patterned gown with tied-on sleeves that show the chemise beneath. Her hair frames her face in soft waves, and back hair is confined in a small draped cap, c. 1505. Barbara Palavicino (/wiki/File:Araldi_pallavicino.jpg) wears slashed sleeves tied in bows at the shoulders. Her long hair is confined in a small embroidered cap and then wrapped in a long tail down her back. She wears a fillet or ferroniere around her forehead. Isabella d'Este (/wiki/File:Francesco_Francia_attributed_-_likely_Isabella_d%27Este.jpg) is considered an Italian fashion icon and inventor of balzo (/wiki/Balzo_headdress) and flea fur (/wiki/Zibellino) . The presumed portrait from 1511 shows her temple curls, gown with tied-on sleeves and already an early form of the balzo, which is copied in many portraits in the 1520/30s. Italian gown (/wiki/File:Jacopo_Pontormo_060.jpg) of floral silk has wide, puffed upper sleeves and fitted lower sleeves. Her chemise is high-necked and small frills are visible at the wrists. She wears a heavy gold chain. Dona Isabel de Requesens (/wiki/File:Raffael_035.jpg) wears a gown with wide, open sleeves lined in light pink. Her high waist is accentuated with a knotted sash. The full sleeves of her chemise are gathered into ornamented bands, and she wears a broad hat that matches her gown, 1518. Marguerite d'Angoulême (/wiki/File:Marguerite_d%27Angoul%C3%AAme.jpg) wears the Italian style common in Savoy. Her black gown has very large puffed upper sleeves with a white lining pulled through numerous cuts or slashes. Her hair is confined in a bag-like fabric snood (/wiki/Snood_(headgear)) under a broad black hat, c. 1527. Style gallery – Italy and Iberia 1530s–1540s [ edit ] 1 – 1530 2 – 1530–35 3 – 1536 4 – 1538 5 – 1540 6 – 1545 7 – 1548 Eleanor of Austria, Queen of Portugal and France (/wiki/File:Joos_van_Cleve_003.jpg) , wears a floral cut velvet gown with fur-lined oversleeves over full, striped slashed undersleeves caught up with jewels, 1530. Foschi's Italian Lady (/wiki/File:Foschi_lady.jpg) wears a pink gown with puffed upper sleeves and contrasting velvet lower sleeves, both trimmed with fur. She wears a high-necked chemise (or possibly partlet) trimmed with blackwork embroidery at the neck and front opening. Her girdle of knotted cord has a tassel (/wiki/Tassel) at the end, 1530–35. Titian's Italian Lady (/wiki/File:Tizian_034.jpg) wears a gown with puffed upper sleeves over contrasting slashed lower or undersleeves. She wears a jeweled girdle at her natural waist. Her hair is done up in intricately knotted braids, 1536. Eleonora Gonzaga (/wiki/File:Tizian_055.jpg) wears a black gown with puffed upper sleeves. A "flea fur" with jeweled gold face is suspended from her knotted and tasselled girdle. She wears a partlet with a high collar and small ruff, and her hair is confined in a black cap, 1538. Lucrezia Panciatichi (/wiki/File:Lucrezia_Panciatichi_by_Angelo_Bronzino.jpg) wears a rose gown with intricately ruched or gathered puffed upper sleeves. The tight gathers of her skirt can be seen at the front waist, 1540. Eleanora of Toledo (/wiki/File:Bronzino_-_Eleonora_di_Toledo_col_figlio_Giovanni_-_Google_Art_Project.jpg) , wife of Cosimo de' Medici, wears a gown of a boldly patterned silk with matching sleeves. She wears a gold lattice-work partlet studded with pearls and a matching snood or caul. The blackwork embroidery at the edges of her square-necked chemise can be seen beneath the parlet, 1545. Empress and Queen of Spain Isabella of Portugal (/wiki/File:Tizian_057.jpg) wears a gown with wide bands of trim. Her bodice is slightly arched over the breast and slightly pointed at the waist, and her long, wide sleeves are open down the front and caught together with jeweled clasps or pins. She wears a high-neck partlet with a small ruff, 1548. Style gallery – England and France 1500s–1520s [ edit ] 1 – c. 1500 2 – early C. 16 3 – c. 1516 4 – painted in 18th century depicting c. 1525 5 – 1527 6 – 1527–28 7 – 1527–28 8 – 1528–30 Elizabeth of York (/wiki/File:Elizabeth_of_York.jpg) wears an early gable hood and a front-closing red gown with a fur lining or trim and fur cuffs, c. 1500. An unidentified princess believed to be Mary Tudor or Catherine of Aragon (/wiki/File:CatherineAragon.jpg) wears a round hood over a linen cap and a dark gown over a kirtle. Her square-necked smock has a narrow row of embroidery at the neck, and she wears a jewelled collar or carcanet and a long, heavy gold chain. If it is Catherine, the portrait was probably painted in 1502-1504. Henry VIII's sister Mary Tudor (/wiki/File:Mary_Tudor_and_Charles_Brandon.jpg) 's marriage portrait (with Charles Brandon) in a French gown shows the cuffs of her sleeves turned back to display a lining decorated with pearls. She wears a French hood. Her undersleeves have an open seam caught with jewelled clasps or pins and her chemise sleeves are pulled through the openings in small puffs, 1516. Catherine of Aragon (/wiki/File:Catherine_of_aragon_1525.jpg) , c.1525, wears a gable hood with the lappets folded up and pinned in place, and the veil hanging loosely in back. Her gown has a pattern of jewels at the neckline, and her wide sleeves are turned up to show the lining. Mary Wotton, Lady Guildenford (/wiki/File:Hans_Holbein_d._J._035.jpg) wears a gable hood with a loose veil. The bodice of her gown (presumably laced at the side-back or back) is decorated with draped chains, and her smock sleeves are pulled through the open outer seam of her undersleeves in neat puffs, 1527. Two ladies (/wiki/File:More_family_detail.jpg) of Thomas More's family wear dark gowns laced over colored kirtles with contrasting undersleeves. 1527–28. Holbein's Anne Lovell (/wiki/File:Lady_with_a_Squirrel_detail.jpg) wears a fur cap shaped like a gable hood. She wears a linen kerchief or capelet draped over her shoulders, and a sheer parlet, 1527–28. Drawing (/wiki/File:Gablehood_front-back_c1535.jpg) by Holbein (/wiki/Hans_Holbein_the_Younger) shows front and back views of English dresses and gable hood of 1528–30. Style gallery – England 1530s–1540s [ edit ] 1 – 1536–37 2 – 1536–37 3 – 1535–40 4 – 1540–41 5 – 1543 6 – 1544 7 – c. 1545 8 – 1546 Jane Seymour (/wiki/File:Hans_Holbein_d._J._031.jpg) wears a gable hood and a chemise with geometric blackwork embroidery, 1536–37. Detail (/wiki/File:Jane-blkwk-cuff-small.jpg) of the embroidery on Jane Seymour's cuff. Margaret Wyatt, Lady Lee (/wiki/File:Workshop_of_Hans_Holbein_the_Younger_-_Portrait_of_Margaret_Wyatt,_Lady_Lee_(1540).jpg) wears a patterned brown or mulberry-colored gown with full sleeves and a matching partlet lined in white, 1540 (perhaps after an earlier drawing). Elizabeth Seymour (/wiki/File:Holbein,_Hans_(II)_-_Portrait_of_a_lady,_probably_of_the_Cromwell_Family_formerly_known_as_Catherine_Howard_-_WGA11565.jpg) wears a black satin gown with full sleeves and black velvet partlet. Her cuffs have floral blackwork embroidery, 1540–41. Lady Margaret Butts (/wiki/File:Portrait_of_Lady_Margaret_(Bacon)_Butts_by_Hans_Holbein_d._j.jpg) wears a high-necked chemise with a band of blackwork at the neck. The lappets on her gable hood are solid black, and she has a fur piece draped around her shoulders, 1543. Henry VIII's daughter Mary Tudor (/wiki/File:Mary_I_by_Master_John.jpg) wears a brocade gown with red sleeve linings and a red French hood with a black veil. The edge of her square-necked chemise is visible above the neckline of her dress, 1544. Catherine Parr (/wiki/File:Catherine_Parr_from_NPG.jpg) wears a red loose gown with wide bands of applied trim. She wears a white cap with pearls and a pleated forehead cloth under a hat with an upturned brim and a feather. The collar of her gown is lined with patterned (woven or possibly embroidered) silk, c. 1545. [26] (#cite_note-26) Elizabeth Tudor (/wiki/File:El_bieta_I_lat_13.jpg) at age 13 wears a rose-colored gown over a forepart and undersleeves of cloth of silver with patterns in looped pile. Her French hood matches her gown, 1546. Men's fashion [ edit ] Overview [ edit ] Fastening of an Italian chemise, c. 1525 Henry VIII (/wiki/Henry_VIII_of_England) wears a fur-trimmed red overgown with split hanging sleeves over a jerkin and an embroidered and slashed doublet and sleeves. Hans Holbein the Younger (/wiki/Hans_Holbein_the_Younger) , 1537 Early in this period, men's silhouette was long and narrow, but gradually it grew wider until by the later reign of Henry the VIII the silhouette was almost square, with shoulder emphasis achieved through wide revers (/wiki/Revers) and collars (/wiki/Collar_(clothing)) and large sleeves. Throughout this period, fashionable men's clothing consisted of: A linen (/wiki/Linen) shirt or chemise (/wiki/Chemise) , originally low-necked but with a higher neckline by mid-century. The neckline was gathered into a narrow band or adjusted by means of a drawstring (/wiki/Drawstring) ; the tiny ruffle formed by pulling up the drawstring became wider over time, and then evolved into the ruff (/wiki/Ruff_(clothing)) of the next period. A doublet (/wiki/Doublet_(clothing)) with matching sleeves, often slashed or cut to allow the fabric of the shirt beneath to show through. A jerkin (/wiki/Jerkin_(garment)) , usually cut low to the waist in front to reveal the doublet beneath, with full skirts to the knee. Hose (/wiki/Hose_(clothing)) , now usually ending above the knee, with a prominent codpiece (/wiki/Codpiece) (both sometimes hidden under the skirts of the jerkin). Separate nether-hose or stockings held up with garters. A front-opening overgown, often fur-lined for warmth and slashed, with sleeves. The overgown was ankle length early in the period, but knee-length overgowns were fashionable in the 1530s and 1540s. Scholars, judges, doctors, and other professionals retained the ankle length gown throughout the period. From the 1530s, a narrower silhouette became popular under Spanish influence. Collars were higher and tighter. Shoulders lost their padding and developed a slight slope. Doublet sleeves became fuller rather than tight. Jerkins closed to the neck; their skirts were shorter and slightly flared rather than full, and they displayed more of the hose. Overall the fashion was more rigid and restrained. [27] (#cite_note-27) Lower-class men wore a one-piece garment called a cotte (/wiki/Cotte) in English, tight to the waist with knee-length skirts and long sleeves over their hose. Bright colors (reds, yellows, purples, pinks, and greens) were popular. Matthäus Schwarz (/wiki/Matth%C3%A4us_Schwarz) compiled a Klaidungsbüchlein or Trachtenbuch (usually translated as "Book of Clothes"), a book cataloguing the clothing that he wore between 1520 and 1560. [28] (#cite_note-28) The book contains color illustrations focused on Schwarz's individual clothing history. [29] (#cite_note-29) Hairstyles and headgear [ edit ] A variety of hats were worn in the period. The German ' barett , with its turned-up brim, was fashionable throughout the period, and a similar hat with a turned-up round or "halo" brim was popular in the court of Henry VIII. The flat hat combined a low, gathered crown with a circular brim and was worn in mid-century. At the beginning of the century hair was often grown chin-length with the exception of the clergy. Styles gradually became shorter and more finely trimmed over the 1510s and 1520s until by the 1530s short styles were favoured. Style gallery 1500–1510 [ edit ] 1 – c. 1500 2 – c. 1500 3 – 1500–1510 4 – 1502–03 5 – 1506 6 – 1509 Arthur, Prince of Wales (/wiki/File:Arthur_Prince_of_Wales_c_1500.jpg) wears a red hat with two gold buttons and a badge. He wears a jewelled collar of knots and Tudor roses (/wiki/Tudor_rose) over a reddish overgown with dark fur trim, c. 1500. Henry VII (/wiki/File:Henry_Seven_England.jpg) wears a red-and-gold brocade overgown over another fur garment. He wears the collar of the Order of the Golden Fleece (/wiki/Order_of_the_Golden_Fleece) , c. 1500. Italian hose (/wiki/File:Giorgione_011.jpg) of the first decade of the century. The man on the left wears hose divided into upper hose and nether hose or stockings. The man on right wears hose slashed around one thigh, with a pouched codpiece, 1500–1510. Johannes Cuspinian (/wiki/File:LucasCranachtheElderCuspinian.jpg) wears a fur-lined brocade overgown over a front-laced red doublet and a low-necked shirt or chemise. He wears a red hat with an upturned brim, 1502–03. Angelo Doni (/wiki/File:Raffael_037.jpg) wears Italian fashion: a dark doublet with pink sleeves, loose hair, and a hat with a turned-up brim, 1506. The young Henry VIII (/wiki/File:HenryVIII_1509.jpg) 's hair is worn chin length. His overgown has wide revers and is worn with a jeweled collar, 1509. Style gallery 1510s [ edit ] 1 – 1510 2 – 1512 3 – 1512-15 4 – 1513 5 – 1514 6 – 1519 7 – 1519 8 – 1519 Italian youth (/wiki/File:Tizian_025_detail.jpg) wears striped hose, a doublet with puffed upper sleeves, and a voluminous cloak, 1510. The Swiss Guard (/wiki/File:Raffael_089.jpg) at the Vatican wear full-skirted giornea (/wiki/Giornea) or jerkins and full sleeves over low-necked shirts or chemises, 1512. Unknown man (/wiki/File:Palma_il_Vecchio_002.jpg) wears a doublet with slashed sleeves and an overgown with a gray fur collar. Ludwig, Count von Löwenstein (/wiki/File:Hans_Baldung_021.jpg) wears a fur-lined overgown in the German fashion and a red barett with a jewel in the form of a pair of compasses, 1513. German fashion (/wiki/File:Lucas_Cranach_d._%C3%84._042.jpg) includes a multitude of slashes in rows on doublet, hose and overgown, 1514. The Emperor Maximilian I (/wiki/File:Albrecht_D%C3%BCrer_084.jpg) , in his portrait by Dürer (/wiki/Portrait_of_emperor_Maximilian_I) , wears an overgown with a very wide fur collar and a broad-brimmed hat, 1519. Georg Zelle (/wiki/File:Bernaerd_van_Orley_003.jpg) wears a brocade overgown with a fur lining and slashed sleeves. The neck of his shirt is open, 1519. Bonifazius Amerbach (/wiki/File:Hans_Holbein_(I)_-_Portrait_of_Bonifacius_Amerbach.jpg) wears a high-necked shirt and a high-necked doublet under a dark overgown. His hat is rounded and soft, rather than angular, 1519. Style gallery 1520–1535 [ edit ] 1 – 1520–25 2 – 1521 3 – 1525 4 – 1527 5 – 1532–33 6 – 1533 7 – 1534–35 8 – c. 1535 Francis I of France (/wiki/File:Fran%C3%A7ois_Ier_Louvre.jpg) wears a wide-necked doublet with paned sleeves under dark gold jerkin and a satin overgown with turned-back sleeves. His shirt has a tiny frill edged in black at the neck and wide ruffles at the wrist. Jean Clouet (/wiki/Jean_Clouet) , c. 1520–25. Lucas Cranach the Elder (/wiki/File:Lucas_Cranach_d._%C3%84._055.jpg) 's Young Man wears the later style of barett , wide and flat with a slashed brim. His high neckline is accented by parallel rows of slashes, and he wears a brown overgown, 1521. Federico II Gonzaga (/wiki/File:Tizian_-_Portrait_of_Federico_II_Gonzaga_-_circa_1525.jpg) wears a doublet with full skirts to mide thigh, soft "loops" at the shoulder, and gold embroidered bands at the border over bright red hose and a prominent codpiece, Italy, 1525. Sir Henry Guildford (/wiki/File:Hans_Holbein_(II)_-_Sir_Henry_Guildford.jpg) wears a wide necked brocade doublet, a jerkin, and a fur-lined overgown. His wide-necked shirt is bare visible under his doublet the left shoulder. 1527. Emperor Charles V (/wiki/File:Tizian_081.jpg) wears slashed hose and sleeves in the German fashion. His overgown has puffed upper sleeves and a black (probably fur) lining. His shoes have squarish toes and reach high over his instep, 1532–33. Jean de Dinteville (/wiki/File:Ambassadors-Dinteville.jpg) , French ambassador to England, wears a fur-lined calf-length overgown over a black jerkin and a slashed doublet of rose-colored silk. His shoes are very square at the toes, 1533. Charles de Solier, Sieur de Morette (/wiki/File:Charles_de_Solier,_Sieur_de_Moriette_(1534-1535)_-Hans_Holbein_d._J._(Staatliche_Kunstsammlungen_Dresden).jpg) wears a high-necked doublet under darker jerkin and an overgown. His sleeves are paned (made in strips) and fastened with jewels. The square beard was very popular with the broad silhouette of 1534–5. Holbein's (/wiki/File:Hans_Holbein_d._J._072.jpg) Man with a Lute wears a transitional costume—a wide-necked doublet with a high, banded-neckline shirt, c. 1535. Style gallery 1535–1550 [ edit ] 1 – 1535–40 2 – 1539–40 3 – c. 1540–42 4 – 1541 5 – 1542 6 – 1544 7 – 1546 8 – 1548 Bronzino's (/wiki/File:Angelo_Bronzino_063.jpg) Young Man with a Book wears a dark slashed doublet with a standing collar and matching hose. His shirt has a small ruffle at the neck, and his hat is decorated with pairs of metal tags or aiglettes. Florence, 1535–40. Thomas Howard, 3rd Duke of Norfolk (/wiki/File:Hans_Holbein_the_Younger_-_Thomas_Howard,_3rd_Duke_of_Norfolk_(Royal_Collection).JPG) wears a black overgown lined with lynx fur over a jerkin lined in a brown fur and a reddish doublet. His shirt has an embroidered standing collar. He wears a black "halo" hat over a black coif, and the collar of the Order of the Garter (/wiki/Order_of_the_Garter) , 1539–40. Count Sciarra Martinengo Cesaresco (/wiki/File:Moretto_da_brescia_cesaresco.jpg) wears an overgown lined in lynx over a blue doublet with quilted (/wiki/Quilting) sleeves. His hat badge is inscribed in Greek "Alas! [I] yearn exceedingly". [30] (#cite_note-30) Unknown man (/wiki/File:Hans_Holbein_d._J._070b.jpg) in a modest costume of 1541. He wears a brown satin doublet with full, unslashed "round" sleeves under a dark overgown. His shirt has a standing band with embroidery and a ruffle. Henry VIII in 1542 (/wiki/File:Hans_Holbein_d._J._048.jpg) wears a closed red ermine-lined overgown with narrower shoulders and a high collar. Seated youth (/wiki/File:Pencz.jpg) wears a pinked and slashed leather jerkin and a black sword belt and hanger over a red doublet and red hose with a prominent codpiece. Germany, 1544. Edward VI (/wiki/File:Edward_VI_of_England_c._1546.jpg) wears the leaner, narrow fashions of 1546. The shoulders are no longer wide, and the jerkin's skirts are flared but not gathered, and are shorter than the hose. Emperor Charles V (/wiki/File:Tizian_066.jpg) wears a black, fur-lined overgown over a black doublet, hose, stockings and shoes. His shoes have slightly rounded rather than square toes, 1548. Footwear [ edit ] Style in men's and women's footwear was the same in this period. Shoes for men and women were flat, and often slashed and fastened with a strap across the instep. They were made of soft leather, velvet, or silk. Broad, squared toes were worn early, and were replaced by rounded toes in the 1530s. Toward the middle of the century, shoes became narrower and were shaped naturally to the foot. [31] (#cite_note-31) Soft boots for riding fitted to mid-calf. German bear-claw shoe, c. 1505 Boots from the same painting German bear-claw shoe, 1800s illustration French duckbill shoe (/wiki/Duckbill_shoe) , circa 1520 Polish boy's duckbill platform shoes, 1530 English commoner's duckbill shoe, 1500s Duck-bill shoes of a Wittenberg (/wiki/Wittenberg) pastor, 1546 Children's fashion [ edit ] As shown in the images below, children's clothing was mostly smaller versions of adult clothing, complete with low necklines and cumbersome underthings. Children of the nobility must have had limited freedom of movement to play and romp because of the restrictive clothing they wore. Toddler boys wore gowns until they were breeched (/wiki/Breeching_(boys)) . German, 1517 Probably French, 1520–35 Dutch, 1531 England, 1538 German, 1530–45 Italy, 1545 Italy, 1545 Working class clothing [ edit ] 1 – c. 1505 2 – c. 1510 3 – c. 1510 4 – c. 1510 5 – 1531 Bavarian stonemasons (/wiki/File:Rueland_Frueauf_d._J._003_detail.jpg) wear knee-length tunics (/wiki/Tunic) , hose, and ankle-high shoes, c. 1505. Sheep shearers (/wiki/File:Breviarium_Grimani_-_Juli_detail.jpg) wear short tunics (/wiki/Tunic) over shirts, with hose and ankle-high shoes, Flanders, c. 1510. Haymakers (/wiki/File:Breviarium_Grimani_-_Juni_detail.jpg) : Barefoot women wear short-sleeved, front-laced gowns with contrasting linings tucked up over knee-length chemises, with aprons and straw hats. Men wear sleeveless overgowns or jerkins over their shirts and hose, c. 1510. The prodigal son (/wiki/File:Hieronymus_Bosch_048.jpg) is dressed like a beggar, in undyed or faded clothing. He wears a hood and carries a hat with a brim and a wicker pack on his back, c. 1510. The great washing day (/wiki/File:Splendor_solis_das_grosse_waschfest_vor_der_stadt_1531_detail.jpg) showing barefoot women with short sleeved dresses doing laundry, 1531 See also [ edit ] Fashion portal (/wiki/Portal:Fashion) Chemise (/wiki/Chemise) Kirtle (/wiki/Kirtle) Doublet (clothing) (/wiki/Doublet_(clothing)) Farthingale (/wiki/Farthingale) French hood (/wiki/French_hood) Gable hood (/wiki/Gable_hood) Hose (clothing) (/wiki/Hose_(clothing)) Jerkin (garment) (/wiki/Jerkin_(garment)) Zibellino (/wiki/Zibellino) Notes [ edit ] ^ (#cite_ref-1) Ashelford, Jane: Visual History of Dress in the Sixteenth Century , introduction ^ (#cite_ref-2) Boucher, François: 20,000 Years of Fashion ^ (#cite_ref-3) Ashelford, Jane: The Art of Dress: Clothing and Society 1500–1914 , Abrams, 1996. ^ (#cite_ref-4) Cox- Rearick, Janet (2009). "Power-Dressing at the Courts of Cosimo de' Medici and François I: The "moda alla spagnola" of Spanish Consorts Eléonore d'Autriche and Eleonora di Toledo". Artibus et Historiae . 60. 30 (60): 39–69. JSTOR (/wiki/JSTOR_(identifier)) 25702881 (https://www.jstor.org/stable/25702881) . ^ (#cite_ref-5) Boucher, François: 20,000 Years of Fashion , pp. 219, 244 ^ (#cite_ref-6) Rublack, Ulinka (2010). Dressing Up: Cultural Identity in Renaissance Europe . New York: Oxford University Press. p. 11. ISBN (/wiki/ISBN_(identifier)) 978-0-19-964518-3 . ^ (#cite_ref-7) Lester, Katherine and Rose Kerr, "Historic Costume" Chas. A. Bennett Co., Inc. Peoria, IL, 1967, p. 105 ^ (#cite_ref-8) Kybalová, Ludmila, Olga Herbenová, and Milena Lamarová: Pictorial Encyclopedia of Fashion , 1968, p. 154 ^ (#cite_ref-Wilcox_9-0) Wilcox, R. Turner (1958). The Mode in Costume . New York, NY: Charles Scribner's Sons. p. 77. ^ (#cite_ref-10) Montupet, Janine, and Ghislaine Schoeller: Lace: The Elegant Web , ISBN (/wiki/ISBN_(identifier)) 0-8109-3553-8 (/wiki/Special:BookSources/0-8109-3553-8) ^ (#cite_ref-Lost_11-0) Arnold, Janet, Lost from Her Majesties Back ^ (#cite_ref-12) Favier, Jean, Gold and Spices: The Rise of Commerce in the Middle Ages , London, 2010, p. 66 ^ (#cite_ref-13) The fur lining of the gown can just be seen at the neckline, with the higher neckline of kirtle beneath it, then the sheer partlet, and the smock or chemise beneath the partlet. The comments at the St Louis Art Museum web site (http://saintlouis.art.museum/emuseum/code/emuseum.asp?style=Browse¤trecord=1&page=search&profile=objects&searchdesc=stafford&quicksearch=stafford&newvalues=1&newstyle=single&newcurrentrecord=1) Archived (https://web.archive.org/web/20110722223117/http://saintlouis.art.museum/emuseum/code/emuseum.asp?style=Browse¤trecord=1&page=search&profile=objects&searchdesc=stafford&quicksearch=stafford&newvalues=1&newstyle=single&newcurrentrecord=1) 2011-07-22 at the Wayback Machine (/wiki/Wayback_Machine) misinterpret the turned-back sleeves as a "fur stole". ^ (#cite_ref-14) The fur is probably lynx (/wiki/Lynx) , and the skirt of the dress also appears to be fur-lined; see Janet Arnold, Queen Elizabeth's Wardrobe Unlock'd , p. 125 ^ Jump up to: a b Kõhler, History of Costume , "Sixteenth Century" ^ (#cite_ref-16) "The Fruit Seller, by Vincenzo Campi" (https://refashioningrenaissance.eu/fruitseller/) . Refashioning the Renaissance . 24 October 2017 . Retrieved 1 December 2021 . ^ (#cite_ref-17) "Medieval Kirtle" (https://ateliernostalgia.wordpress.com/2017/03/24/medieval-kirtle/) . Atelier Nostalgia . 24 March 2017. Archived (https://web.archive.org/web/20200927192426/https://ateliernostalgia.wordpress.com/2017/03/24/medieval-kirtle/) from the original on 27 September 2020 . Retrieved 11 October 2023 . ^ (#cite_ref-18) Kõhler, History of Costume ^ (#cite_ref-AJ_19-0) Gaimster, David (/wiki/David_Gaimster) ; Hayward, Maria; Mitchell, David; Parker, Karen (2002). "Tudor Silver-Gilt Dress-hooks: A New Class of Treasure Find in England" (https://www.cambridge.org/core/journals/antiquaries-journal/article/div-classtitletudor-silver-gilt-dress-hooks-a-new-class-of-treasure-find-in-englanddiv/45C2FC277BA5F34DB28D3E87BF56AE0A) . The Antiquaries Journal . 82 : 157–196. doi (/wiki/Doi_(identifier)) : 10.1017/S0003581500073777 (https://doi.org/10.1017%2FS0003581500073777) . ISSN (/wiki/ISSN_(identifier)) 0003-5815 (https://www.worldcat.org/issn/0003-5815) . S2CID (/wiki/S2CID_(identifier)) 161564261 (https://api.semanticscholar.org/CorpusID:161564261) . ^ (#cite_ref-Johnson_20-0) Johnson, Caroline (2011-12-01). The Queen's Servants: Gentlewomen's Dress at the Accession of Henry VIII . Jane Malcolm-Davies, Ninya Mikhaila (eds.). Lightwater, Surrey England: Fat Goose Press Ltd. p. 32. ISBN (/wiki/ISBN_(identifier)) 9780956267412 . ^ (#cite_ref-Med2_21-0) Sherrill, Tawny: "Fleas, Furs, and Fashions: Zibellini as Luxury Accessories of the Renaissance", in Robin Netherton and Gale R. Owen-Crocker, editors, Medieval Clothing and Textiles , Volume 2, pp. 121–150 ^ (#cite_ref-22) Ribeiro, Aileen (2011). Facing Beauty: Painted Women & Cosmetic Art . New Haven and London: Yale University Press. pp. 57–60. ^ (#cite_ref-23) Haughton, Neil (2004). "Perceptions of Beauty in Renaissance Art". Journal of Cosmetic Dermatology . 3 (4): 229–33. doi (/wiki/Doi_(identifier)) : 10.1111/j.1473-2130.2004.00142.x (https://doi.org/10.1111%2Fj.1473-2130.2004.00142.x) . PMID (/wiki/PMID_(identifier)) 17166111 (https://pubmed.ncbi.nlm.nih.gov/17166111) . S2CID (/wiki/S2CID_(identifier)) 16948165 (https://api.semanticscholar.org/CorpusID:16948165) . ^ (#cite_ref-24) Ribeiro, Aileen (2011). Facing Beauty: Painted Women & Cosmetic Art . New Haven and London: Yale University Press. pp. 60–124. ^ (#cite_ref-25) Hunt, Kenneth (2011). "Cultural and Social Influences on the Perception of Beauty: A Case Analysis of the Cosmetics Industry". Journal of Business Case Studies . 7 (1): 1–10. ^ (#cite_ref-26) National Portrait Gallery, Catherine Parr , Online Portrait ^ (#cite_ref-27) Kybalová, et al.: Pictorial Encyclopedia of Fashion ^ (#cite_ref-28) Fink, August (1963). Die Schwarz'schen Trachtenbücher . Berlin. {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) ^ (#cite_ref-29) Burman, Barbara (2003). Material Strategies: Dress and Gender in Historical Perspective . Malden, MA, USA: Blackwell. p. 12. ISBN (/wiki/ISBN_(identifier)) 1405109068 . ^ (#cite_ref-30) Andrea Bayer, editor, Painters of Reality: The Legacy of Leonardo and Caravaggio in Lombardy , Metropolitan Museum of Art, 2004, p. 124 ^ (#cite_ref-31) Kohler, Carl (1963). A History of Costume . New York, NY: Dover Publications. pp. 227–274. References [ edit ] Bayer, Andrea, editor: Painters of Reality: The Legacy of Leonardo and Caravaggio in Lombardy , Metropolitan Museum of Art, 2004, ISBN (/wiki/ISBN_(identifier)) 0-300-10275-5 (/wiki/Special:BookSources/0-300-10275-5) Boucher, François: 20,000 Years of Fashion (/wiki/20,000_Years_of_Fashion) , Harry Abrams, 1966. Arnold, Janet (/wiki/Janet_Arnold) : Lost from Her Majesties Back , The Costume Society (/wiki/The_Costume_Society) , 1980. Arnold, Janet: Queen Elizabeth's Wardrobe Unlock'd , W S Maney and Son Ltd, Leeds 1988. ISBN (/wiki/ISBN_(identifier)) 0-901286-20-6 (/wiki/Special:BookSources/0-901286-20-6) (Arnold comments in detail on the clothing in several portraits of the 1530s and 1940s referenced in this article.) Ashelford, Jane: The Art of Dress: Clothing and Society 1500–1914 , Abrams, 1996. ISBN (/wiki/ISBN_(identifier)) 0-8109-6317-5 (/wiki/Special:BookSources/0-8109-6317-5) Ashelford, Jane. The Visual History of Costume: The Sixteenth Century . 1983 edition ( ISBN (/wiki/ISBN_(identifier)) 0-89676-076-6 (/wiki/Special:BookSources/0-89676-076-6) ), 1994 reprint ( ISBN (/wiki/ISBN_(identifier)) 0-7134-6828-9 (/wiki/Special:BookSources/0-7134-6828-9) ). Favier, Jean, Gold and Spices: The Rise of Commerce in the Middle Ages , London, Holmes and Meier, 1998, ISBN (/wiki/ISBN_(identifier)) 0-8419-1232-7 (/wiki/Special:BookSources/0-8419-1232-7) . Hayward, Maria: Dress at the Court of King Henry VIII , Maney Publishing, 2007, ISBN (/wiki/ISBN_(identifier)) 1-904350-70-4 (/wiki/Special:BookSources/1-904350-70-4) Hearn, Karen, ed. Dynasties: Painting in Tudor and Jacobean England 1530–1630. New York: Rizzoli, 1995. ISBN (/wiki/ISBN_(identifier)) 0-8478-1940-X (/wiki/Special:BookSources/0-8478-1940-X) . Kõhler, Carl: A History of Costume , Dover Publications reprint, 1963, from 1928 Harrap translation from the German, ISBN (/wiki/ISBN_(identifier)) 0-486-21030-8 (/wiki/Special:BookSources/0-486-21030-8) Kybalová, Ludmila, Olga Herbenová, and Milena Lamarová: Pictorial Encyclopedia of Fashion , translated by Claudia Rosoux, Paul Hamlyn/Crown, 1968, ISBN (/wiki/ISBN_(identifier)) 1-199-57117-2 (/wiki/Special:BookSources/1-199-57117-2) Mentges, Gabriele: European Fashion (1450–1950) (http://nbn-resolving.de/urn:nbn:de:0159-2011050985) , European History Online (/wiki/European_History_Online) , Mainz: Institute of European History (/wiki/Institute_of_European_History) , 2011, retrieved: June 16, 2011. Montupet, Janine, and Ghislaine Schoeller: Lace: The Elegant Web , ISBN (/wiki/ISBN_(identifier)) 0-8109-3553-8 (/wiki/Special:BookSources/0-8109-3553-8) Netherton, Robin, and Gale R. Owen-Crocker, editors, Medieval Clothing and Textiles , Volume 2, Woodbridge, Suffolk, UK, and Rochester, NY, the Boydell Press, 2006, ISBN (/wiki/ISBN_(identifier)) 1-84383-203-8 (/wiki/Special:BookSources/1-84383-203-8) Rublack, Ulinka (2010). Dressing Up. Cultural Identity in Renaissance Europe . Oxford University Press. v t e Timeline (/wiki/Timeline_of_clothing_and_textiles_technology) of clothing and fashion History of clothing and textiles (/wiki/History_of_clothing_and_textiles) History of fashion design (/wiki/History_of_fashion_design) Ancient (/wiki/Clothing_in_the_ancient_world) Prehistory of nakedness and clothing (/wiki/Prehistory_of_nakedness_and_clothing) China (/wiki/Popular_fashion_in_ancient_China) Han Chinese (/wiki/Hanfu) Shu (/wiki/Clothing_in_ancient_Shu) Egyptian (/wiki/Clothing_in_ancient_Egypt) Inuit (/wiki/Inuit_clothing) Biblical (/wiki/Biblical_clothing) Greek (/wiki/Clothing_in_ancient_Greece) Roman (/wiki/Clothing_in_ancient_Rome) Thracian (/wiki/Thracian_clothing) Middle Ages Anglo-Saxon (/wiki/Anglo-Saxon_dress) Byzantine (/wiki/Byzantine_dress) Chinese Liao (/wiki/Fashion_in_the_Liao_dynasty) Jurchen Jin (/wiki/Fashion_in_the_Jurchen_Jin_dynasty) Yuan (/wiki/Fashion_in_the_Yuan_dynasty) Western Xia (/wiki/Fashion_in_Western_Xia) English (/wiki/English_medieval_clothing) Europe 400s–1000s (/wiki/Early_medieval_European_dress) 1100s (/wiki/1100%E2%80%931200_in_European_fashion) 1200s (/wiki/1200%E2%80%931300_in_European_fashion) 1300s (/wiki/1300%E2%80%931400_in_European_fashion) 1400s (/wiki/1400%E2%80%931500_in_European_fashion) Korean (/wiki/Hanbok#History) Ottoman (/wiki/Ottoman_clothing) Tocharian (/wiki/Tocharian_clothing) Vietnamese (/wiki/Vietnamese_clothing#Lý_dynasty_to_Trần_dynasty_(1009–1400)) 1500s–1820s Western fashion 1500–1550 1550–1600 (/wiki/1550%E2%80%931600_in_European_fashion) 1600–1650 (/wiki/1600%E2%80%931650_in_Western_fashion) 1650–1700 (/wiki/1650%E2%80%931700_in_Western_fashion) 1700–1750 (/wiki/1700%E2%80%931750_in_Western_fashion) 1750–1775 (/wiki/1750%E2%80%931775_in_Western_fashion) 1775–1795 (/wiki/1775%E2%80%931795_in_Western_fashion) 1795–1820 (/wiki/1795%E2%80%931820_in_Western_fashion) Directoire style (/wiki/Directoire_style) 1820s (/wiki/1820s_in_Western_fashion) 1830s–1910s Western fashion Victorian (/wiki/Victorian_fashion) 1830s (/wiki/1830s_in_Western_fashion) 1840s (/wiki/1840s_in_Western_fashion) 1850s (/wiki/1850s_in_Western_fashion) 1860s (/wiki/1860s_in_Western_fashion) 1870s (/wiki/1870s_in_Western_fashion) 1880s (/wiki/1880s_in_Western_fashion) 1890s (/wiki/1890s_in_Western_fashion) Edwardian (/wiki/Edwardian_era#Fashion) 1900s (/wiki/1900s_in_Western_fashion) 1910s (/wiki/1910s_in_Western_fashion) 1920s–1950s Western fashion Suffrage Movement period (/wiki/Women%27s_suffrage_and_Western_women%27s_fashion_through_the_early_20th_century) 1920s (/wiki/1920s_in_Western_fashion) 1930–1945 (/wiki/1930%E2%80%931945_in_Western_fashion) 1945–1960 (/wiki/1945%E2%80%931960_in_Western_fashion) 1960s-1990s fashion 1960s (/wiki/1960s_in_fashion) 1970s (/wiki/1970s_in_fashion) 1980s (/wiki/1980s_in_fashion) 1990s (/wiki/1990s_in_fashion) 2000–present fashion 2000s (/wiki/2000s_in_fashion) 2010s (/wiki/2010s_in_fashion) 2020s (/wiki/2020s_in_fashion) impact of the COVID-19 pandemic (/wiki/Impact_of_the_COVID-19_pandemic_on_the_fashion_industry) By country and region Indian subcontinent (/wiki/History_of_clothing_in_the_Indian_subcontinent) Italy (/wiki/History_of_Italian_fashion) Japan (/wiki/Japanese_clothing#History) Meiji (/wiki/Japanese_clothing_during_the_Meiji_period) Thailand (/wiki/History_of_Thai_clothing) Western world (/wiki/History_of_Western_fashion) By clothing Bikini (/wiki/History_of_the_bikini) Corset (/wiki/History_of_corsets) Hide (/wiki/History_of_hide_materials) Swimwear (/wiki/History_of_swimwear) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐r2ncb Cached time: 20240720194450 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.705 seconds Real time usage: 1.028 seconds Preprocessor visited node count: 4392/1000000 Post‐expand include size: 61568/2097152 bytes Template argument size: 2808/2097152 bytes Highest expansion depth: 16/100 Expensive parser function count: 3/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 197753/5000000 bytes Lua time usage: 0.273/10.000 seconds Lua memory usage: 6324667/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 751.154 1 -total 28.23% 212.051 1 Template:Reflist 14.88% 111.789 4 Template:Cite_journal 11.55% 86.769 1 Template:Timeline_of_clothing_and_fashion 11.25% 84.498 1 Template:Navbox 9.55% 71.723 1 Template:Short_description 8.40% 63.102 1 Template:More_footnotes 8.12% 60.996 13 Template:ISBN 7.45% 55.956 1 Template:Ambox 6.19% 46.515 9 Template:Cite_book Saved in parser cache with key enwiki:pcache:idhash:6728233-0!canonical and timestamp 20240720194450 and revision id 1225716526. 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Type of unisex clothing This article needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Speedsuit) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed. Find sources: "Speedsuit" (https://www.google.com/search?as_eq=wikipedia&q=%22Speedsuit%22) – news (https://www.google.com/search?tbm=nws&q=%22Speedsuit%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Speedsuit%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Speedsuit%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Speedsuit%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Speedsuit%22&acc=on&wc=on) ( January 2021 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) A woman wearing a speedsuit in a triathlon (/wiki/Triathlon) A speedsuit is an item of unisex (/wiki/Unisex) exercise attire or an industrial uniform used when quick clothing changes are necessary. It is either a single piece of clothing which tightly fits the torso and, optionally, varying amounts of the arms and legs; overall, it is similar to a leotard (/wiki/Leotard) , though intentionally made especially tight and constricting to hug the body for varying purposes of warmth (when used in snowboarding (/wiki/Snowboarding) or skiing (/wiki/Skiing) ) and hydrodynamics (/wiki/Hydrodynamics) (when used in swimming and other water sports), or it is a tight fitting collared jumpsuit (/wiki/Jumpsuit) similar to coveralls (/wiki/Coveralls) . In popular culture [ edit ] A running gag in The Venture Bros. (/wiki/The_Venture_Bros.) , beginning with the episode " Hate Floats (/wiki/Hate_Floats) " is Dr. Venture (/wiki/Dr._Venture) 's assertions regarding the superiority of a " speedsuit (/wiki/Boilersuit) " and his desire to outfit his son Dean (/wiki/List_of_The_Venture_Bros._characters#Team_Venture) in a speedsuit, initially for his birthday and later as a rite of passage. A gag in the initial episode mentions how a speedsuit is what a "super-scientist" wears "for the rest of his life", and explanation within the imagined reality (/wiki/Fictional_universe) of the show for the reason why animated characters are always shown in the same clothing and animated in the same outfits regardless of the circumstance. In the show a speedsuit is a short sleeve jumpsuit. The term has now made its way into the vernacular of the jumpsuit / work uniform industry. [1] (#cite_note-1) See also [ edit ] Sports portal (/wiki/Portal:Sports) Fashion portal (/wiki/Portal:Fashion) Sportswear (activewear) (/wiki/Sportswear_(activewear)) LZR Racer (/wiki/LZR_Racer) Aquapel (/wiki/Aquapel) Ski suit (/wiki/Ski_suit) Coveralls (/wiki/Coveralls) References [ edit ] ^ (#cite_ref-1) Speedsuits at Red Kap Workwear (https://www.redkap.com/short-sleeve-speedsuit/CP40.html) This fashion (/wiki/Fashion) -related article is a stub (/wiki/Wikipedia:Stub) . You can help Wikipedia by expanding it (https://en.wikipedia.org/w/index.php?title=Speedsuit&action=edit) . v t e This sports-related article is a stub (/wiki/Wikipedia:Stub) . 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Rendering was triggered because: unknown esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Speedsuit&oldid=1059453166 (https://en.wikipedia.org/w/index.php?title=Speedsuit&oldid=1059453166) " Categories (/wiki/Help:Category) : One-piece suits (/wiki/Category:One-piece_suits) Sportswear (/wiki/Category:Sportswear) Fashion stubs (/wiki/Category:Fashion_stubs) Sports stubs (/wiki/Category:Sports_stubs) Hidden categories: Articles with short description (/wiki/Category:Articles_with_short_description) Short description is different from Wikidata (/wiki/Category:Short_description_is_different_from_Wikidata) Articles needing additional references from January 2021 (/wiki/Category:Articles_needing_additional_references_from_January_2021) All articles needing additional references (/wiki/Category:All_articles_needing_additional_references) All stub articles (/wiki/Category:All_stub_articles) |
Fashion that does not conform to mainstream styles Alternative fashion or alt fashion is fashion (/wiki/Fashion) that stands apart from mainstream, commercial fashion. It includes both styles which do not conform to the mainstream fashion of their time and the styles of specific subcultures (/wiki/Subculture) (such as emo (/wiki/Emo) , goth (/wiki/Goth_subculture) , hip hop (/wiki/Hip_hop_(culture)) and punk (/wiki/Punk_subculture) ). [1] (#cite_note-1) Some alternative fashion styles are attention-grabbing and more artistic than practical ( goth (/wiki/Gothic_fashion) , ganguro (/wiki/Ganguro) , rivethead (/wiki/Rivethead) ), while some develop from anti-fashion sentiments that focus on simplicity and utilitarianism ( grunge (/wiki/Grunge_fashion) , rocker (/wiki/Rocker_(subculture)) , skinhead (/wiki/Skinhead) ). Characteristics [ edit ] Alternative fashion styles often originate as ways of expressing attitudes towards individuality, consumerism, social constructs on behavior, self-expression, and/or disillusionment with what is viewed as "normal" society. [2] (#cite_note-2) [3] (#cite_note-3) Many styles are influenced by music and the dress style of individual bands or musicians. [4] (#cite_note-4) While the qualities of individuality and open-mindedness are associated with alternative fashion, levels of conformity within subcultures, judgemental behaviors and expressions of feelings of superiority exist within certain alternative fashion communities just as they exist in aspects of mainstream fashion and culture. Pressure to 'fit in,' even just within a small niche community, may influence personal style. [5] (#cite_note-5) Historical and sociological perspectives [ edit ] 1911 sketch by American journalist Marguerite Martyn (/wiki/Marguerite_Martyn) contrasts fashion designer Beatrice Farnham (/wiki/Beatrice_Farnham) 's alternative attire with that of a modern woman of that era. Alternative fashion is often considered a modern concept but it, and the concept of subculture it is often related to, have existed for centuries. As covered in Ken Gelder's exploration of the history of alternative culture (/wiki/Alternative_culture) patterns in Western society, Subcultures: Cultural Histories and Social Practice , alternative fashions have often been used to identify, and even stereotype, members of groups with value systems that diverged from common culture. Gelder states that alternative fashions have traditionally been related to subcultures that have been identified by mass society as: disinterested in common moral order: idle, parasitical, hedonistic, criminal disinterested in or against adhering to the structure of the social class (/wiki/Social_class) identification with an area (street, neighborhood, club) rather than self-owned property preferring to develop "family" and community outside of traditional paradigms attitudes against or wary of mass production (/wiki/Mass_production) , homogeneity, heteronormativity, socially imposed behavior constrictions Those who utilize alternative fashion may vary greatly in beliefs and not identify with any of these concepts. Often it is the mass social perceptions of the meaning of certain fashions and their relation to a particular niche group that is important in understanding the interaction of alternative fashion with mass culture - a fashion is often more remembered for what it is related to in the popular consciousness than what its wearer's intended it to stand for. Particularly in a sociopolitical sense alternative fashion has often been intentionally adopted by an individual or group to display a break from the beliefs or mores of popular culture and as a form of self-expression that challenged the boundaries of what was considered appropriate, fashionable or practical. [6] (#cite_note-6) The use of subculture (/wiki/Subculture) terminology in the 21st century to categorize or interpret dress style is often inaccurate, or at the least does not provide a complete picture of the individual being assessed by their 'look,' due to the constant evolution in the meaning, relevance and cohesion of certain subcultures and even the term 'subculture' itself. [7] (#cite_note-7) Alternative fashion is often looked at through the lens of social politics - it is considered a visual expression of opposition to societal norms, thus heavily associated with the idealism, energy and rebellion of youth culture. [8] (#cite_note-8) [9] (#cite_note-9) However, sociological studies into exploring alternative fashion have found individuals who retained statistically uncommon modes of dress on a permanent post-adolescent basis. [10] (#cite_note-10) Alternative fashion generally lays down a challenge to accepted norms, though the reactions received by wearers of alternative fashion from those who adhere to more conventional stylings can be as diverse as the wearers themselves. It can be a visual language that people employ to communicate with each other [11] (#cite_note-11) [12] (#cite_note-12) indicating common interests or involvement with similar activities, a challenge to modern conceptions of aesthetic beauty and/or a basic form of self-expression, like painting or writing. [13] (#cite_note-13) Commodification [ edit ] Traditionally alternative clothing, shoes and accessories have been largely procured from independently owned businesses, such as the boutiques found in artistic districts of large urban centers. As some alternative fashion have become increasingly embraced by the mainstream, these types of small, specialized retailers have become displaced much like mainstream retail outlets by the Internet. Also, as fashion trends are co-opted by more and more people chain stores, which may offer a wider variety of products at a lower price and are easier to access in non-urban areas than boutiques, began to soak up a large part of the alternative fashion market. This change in the availability and commodification (/wiki/Commodification) of alternative fashions has encouraged much broader use of styles in the mainstream once only found in niche groups. Items from thrift & vintage shops, altered and DIY fashions have also long held a place in alternative fashion to the point where the use of mismatched second-hand clothing is considered cliche to alternative and liberal ideologies. [14] (#cite_note-14) Controversies [ edit ] Many forms of alternative fashion gain attention, and even notoriety, through their relationship to individuals or groups that are seen as socially undesirable – those involved in behavior considered criminal, deviant or anti-social (/wiki/Anti-social_behaviour) – even though these types of behaviors may not be common among those involved in alternative fashion. [15] (#cite_note-15) [16] (#cite_note-16) For instance, greasers (/wiki/Greaser_(subculture)) of the 1950s were associated with street gangs (/wiki/Street_gang) and random acts of juvenile violence, hippies (/wiki/Hippies) of the 1960s (along with ravers (/wiki/Rave) of the 1980–1990s) with promiscuity (/wiki/Promiscuity) , anti-establishment agendas and, especially, drug use (/wiki/Substance_abuse) and those sporting hip hop style with the selling of drugs and other criminal behavior. There was a wave of anti- gothic (/wiki/Goth_subculture) policies and commentary in the wake of the Columbine High School massacre (/wiki/Columbine_High_School_massacre) . The crime, perpetrated by two young men dressed in black trench coats who were known to be fans of heavy, dark themed music, was immediately associated with the gothic subculture in the media despite the shooters' lack of association to the subculture and music. Policies were passed in schools across the country banning dress styles and items associated with the gothic subculture. Many individuals who dressed in any way related to the gothic style, whether or not they associated with this subculture, were targets of fear, anger and suspicion. [17] (#cite_note-17) The subculture as a whole, though extremely diverse in religious and social beliefs, was pigeonholed by the media as a dangerous influence on children. [18] (#cite_note-18) Influence [ edit ] Mainstream culture (/wiki/Popular_culture) , particularly retailers and the mass media (/wiki/Mass_media) , have often looked to alternative fashion for up and coming trends and, increasingly, as an easy way to market products to a niche group that may not be having its tastes supplied elsewhere. [19] (#cite_note-19) Some in subcultures view this as flattering and as a positive expansion of what is socially acceptable, and easily available, fashion. Others consider the involvement of mainstream institutions in alternative fashion as a desecration of what the concept stands for and feel the mass marketing of previously underground styles, particularly to impressionable youth markets who are more concerned with a look than the meaning behind it, amounts to a non-violent form of cultural genocide. When a previously non-mainstream style becomes popular the core group of a certain alternative niche may be watered down with dozens or even hundreds of individuals who are not genuinely invested in the advancement of alternative culture or its precepts of individuality and present an image of the subculture not at all related to its traditional members' behaviors. [20] (#cite_note-autogenerated2004-20) For instance, rave culture was heavily associated with ideas of racial, gender and sexual orientation equality and encouraged unity, creativity and individuality amongst its members. [21] (#cite_note-21) The commodification (/wiki/Commodification) of rave (/wiki/Rave) fashions in chain outlets and internet boutiques coincided with a media frenzy focusing on drug use in the rave community. These factors led to an insurgence of young people interested in emulating rave style, and obtaining the substances associated with it, rather than in promoting the utopian (/wiki/Utopian) precepts originally associated with raves. [22] (#cite_note-22) Alternative fashion is expressed, discussed, viewed and proliferated through many of the same channels as mainstream fashion, such as fashion shows (/wiki/Fashion_show) , websites, blogs (/wiki/Blog) and magazines, however in non-mainstream forms of these spaces, fueled by personal creativity. It is common for projects related to alternative fashion to be independently run by individuals or small groups and to be offered to the public cheaply or free of charge. However, just as alternative fashion has been commodified by chain stores (/wiki/Chain_store) , some level of commercialization (/wiki/Commercialization) may exist within outlets of alternative fashion seeking to exploit certain styles as "the next big thing" or taking financial advantage of customers with limited options. [23] (#cite_note-23) Alternative fashion examples [ edit ] Aristocrat (/wiki/Aristocrat_(fashion)) – Japanese street fashion Pages displaying wikidata descriptions as a fallback Artistic Dress (/wiki/Artistic_Dress) – Medieval-inspired dress reform movement Beatnik (/wiki/Beatnik) – Media stereotype based on characteristics of the Beat Generation Cottagecore (/wiki/Cottagecore) – Aesthetic of nostalgia popular among youths Cyber fashion (/wiki/Cyber_(subculture)) – Fashion subculture of goth and cyberpunk Pages displaying short descriptions of redirect targets Emo (/wiki/Emo) – Music genre derivative of punk rock music Fetish fashion (/wiki/Fetish_fashion) – Extreme or provocative clothing Flapper (/wiki/Flapper) – 1920's women's subculture Goblincore (/wiki/Goblincore) – Subculture and aesthetic centered around goblins Goth fashion (/wiki/Goth_fashion) – Fashion of goth subculture Pages displaying short descriptions of redirect targets Greaser (/wiki/Greaser_(subculture)) – 1950s and 60s youth subculture in the United States Grunge fashion (/wiki/Grunge_fashion) – Fashion trend peaking in the mid-1990s Gyaru (/wiki/Gyaru) – Japanese fashion subculture Heavy metal fashion (/wiki/Heavy_metal_fashion) – Performer and fan worn attire as representing heavy metal music Hip hop (/wiki/Hip_hop_fashion) – Various styles of dress that originated in the United States Hippie (/wiki/Hippie) – Person associated with 1960-1975 counterculture Hipster (/wiki/Hipster_(contemporary_subculture)) – Subculture defined by claims to authenticity and uniqueness Kinderwhore (/wiki/Kinderwhore) – American 1990s clothing style Lolita fashion (/wiki/Lolita_fashion) – Fashion subculture originating in Japan Mod (/wiki/Mod_(subculture)) – Subculture in England Mall goth (/wiki/Mall_goth) – Goth subculture Neo-Victorian (/wiki/Neo-Victorian) – Aesthetic movement New Romantic (/wiki/New_Romantic) – 1970s popular culture movement originating in the UK Biker (/wiki/Outlaw_motorcycle_club) – Motorcycle subculture Pin-up (/wiki/Pin-up) – Model whose mass-produced pictures see wide appeal as popular culture Pages displaying short descriptions of redirect targets Punk fashion (/wiki/Punk_fashion) – Fashion of punk subculture Raver (/wiki/Rave#Attire) – Dance party Rivethead (/wiki/Rivethead) – Subculture of industrial dance music Rockabilly (/wiki/Rockabilly) – Early style of rock and roll music Rocker (/wiki/Rocker_(subculture)) – Biker subculture members in the United Kingdom Rude boy (/wiki/Rude_boy) – Jamaican street subculture since 1960s Scene (/wiki/Scene_(subculture)) – Youth subculture Seapunk (/wiki/Seapunk) – Internet subculture Skater fashion (/wiki/Skater_fashion) – Action sport on skateboards Pages displaying short descriptions of redirect targets Skinhead (/wiki/Skinhead) – Working-class youth sub-culture Soft grunge (/wiki/Soft_grunge) – Fashion trend and music genre Steampunk (/wiki/Steampunk_fashion) – Subgenre of the steampunk movement Surfer (/wiki/Surf_culture#Fashion) – Culture associated with the sport surfing Gallery [ edit ] William Powell Frith (/wiki/William_Powell_Frith) 's 1883 painting A Private View at the Royal Academy, 1881 (/wiki/A_Private_View_at_the_Royal_Academy,_1881) , portraying the contrasts between women's Artistic Dress (/wiki/Artistic_Dress) (foreground) with the time's fashionable attire (background) Four hepcats (/wiki/Hipster_(1940s_subculture)) in zoot suits (/wiki/Zoot_suits) (1940s) A greaser (/wiki/Greaser_(subculture)) ( c. 1960) Four Teddy Boys (/wiki/Teddy_Boy) (1972) Three rockers (/wiki/Rocker_(subculture)) (late 1970s) Three mods (/wiki/Mod_(subculture)) (1984) A man in New Romantic (/wiki/New_Romantic) fashion (1989) Kat Bjelland (/wiki/Kat_Bjelland) in kinderwhore (/wiki/Kinderwhore) clothing (1992) A dress from Yohji Yamamoto (/wiki/Yohji_Yamamoto) 's fall–winter 2003–2004 collection A woman in Lolita fashion (/wiki/Lolita_fashion) (2005) Two bikers (/wiki/Outlaw_motorcycle_club) , wearing colors (/wiki/Colors_(motorcycling)) on their cut-off (/wiki/Cut-off) (left) and tasseled leather jacket (/wiki/Leather_jacket) (right) in 2006 Three people in visual kei (/wiki/Visual_kei) (2006) A punk (/wiki/Punk_subculture) in punk fashion (/wiki/Punk_fashion) ( c. 2007) Flavor Flav (/wiki/Flavor_Flav) in 1980s hip hop fashion (2008) Two women in ganguro (/wiki/Ganguro) (2008) Three cybergoths (/wiki/Cybergoths) (2009) Two skinheads (/wiki/Skinhead) (2010) Three women in 1950s (/wiki/1950s_fashion) revivalist rockabilly (/wiki/Rockabilly) clothing (2011) A woman in Neo-Victorian (/wiki/Neo-Victorian) fashion (2013) A goth (/wiki/Goth_subculture) in gothic fashion (/wiki/Gothic_fashion) (2014) A man and woman in steampunk (/wiki/Steampunk) clothing (2014) See also [ edit ] Anti-fashion (/wiki/Anti-fashion) – Styles of dress contrary to popular fashion Subculture (/wiki/Subculture) – Smaller culture within a larger culture List of subcultures (/wiki/List_of_subcultures) Metal couture (/wiki/Metal_couture) – Fashion accessory History of modern Western subcultures (/wiki/History_of_modern_Western_subcultures) Youth subculture (/wiki/Youth_subculture) – Subcultures associated with young people References [ edit ] ^ (#cite_ref-1) Osgersby,Bill. (2010)Fashion and Subculture: A History of Style. ISBN (/wiki/ISBN_(identifier)) 978-1-84520-809-7 (/wiki/Special:BookSources/978-1-84520-809-7) ^ (#cite_ref-2) Bennett, Andy. (2004)After Subculture: Critical Studies in Contemporary Youth Culture. ISBN (/wiki/ISBN_(identifier)) 978-0-333-97712-5 (/wiki/Special:BookSources/978-0-333-97712-5) ^ (#cite_ref-3) Hall,Stuart.(1990) Resistance Through Rituals: Youth Subcultures in Post-War Britain. ISBN (/wiki/ISBN_(identifier)) 978-0-415-09916-5 (/wiki/Special:BookSources/978-0-415-09916-5) ^ (#cite_ref-4) Schwobel, Laura.(2008)Gothic Subculture in Finland: History, Fashion and Lifestyle. ISBN (/wiki/ISBN_(identifier)) 978-3-639-02884-3 (/wiki/Special:BookSources/978-3-639-02884-3) ^ (#cite_ref-5) Hodkinson, Paul. (2002) Goth: Identity, Style and Subculture. ISBN (/wiki/ISBN_(identifier)) 978-1-85973-605-0 (/wiki/Special:BookSources/978-1-85973-605-0) ^ (#cite_ref-6) Gelder, Ken.(2007)Subcultures: Cultural Histories and Social Practice. ISBN (/wiki/ISBN_(identifier)) 978-0-415-37952-6 (/wiki/Special:BookSources/978-0-415-37952-6) ^ (#cite_ref-7) Muggleton,David.(2004)The Post-Subcultures Reader. ISBN (/wiki/ISBN_(identifier)) 978-1-85973-668-5 (/wiki/Special:BookSources/978-1-85973-668-5) ^ (#cite_ref-8) Brake,Mike.(1990)Comparative Youth Culture: The Sociology of Youth Cultures and Youth Subcultures in America, Britain and Canada. ISBN (/wiki/ISBN_(identifier)) 978-0-415-05108-8 (/wiki/Special:BookSources/978-0-415-05108-8) ^ (#cite_ref-9) Greenberg,Arielle.(2006)Youth Subcultures: Exploring Underground America. ISBN (/wiki/ISBN_(identifier)) 978-0-321-24194-8 (/wiki/Special:BookSources/978-0-321-24194-8) ^ (#cite_ref-10) Jenks, Chris. (2004) Subculture: The Fragmentation of the Social. ISBN (/wiki/ISBN_(identifier)) 978-0-7619-5371-5 (/wiki/Special:BookSources/978-0-7619-5371-5) ^ (#cite_ref-11) Smith,Courney & Topham,Sean. Extreme Fashion. ISBN (/wiki/ISBN_(identifier)) 3-7913-3175-2 (/wiki/Special:BookSources/3-7913-3175-2) ^ (#cite_ref-12) Straw, W. (1991) "Systems of Articulation, Logics of Change:Communities and Scenes in Popular music" Cultural studies, 5 (3) :368-88 ^ (#cite_ref-13) Muggleton,David.(2002)Inside Subculture: The Postmodern Meaning of Style.978-1859733523 ^ (#cite_ref-14) Julia Plevin. "Who's a Hipster?" Huffington Post. August 8, 2008 ^ (#cite_ref-15) Hebdige,Dick. (1981) Subculture: The Meaning of Style . ISBN (/wiki/ISBN_(identifier)) 978-0-415-03949-9 (/wiki/Special:BookSources/978-0-415-03949-9) ^ (#cite_ref-16) Haenfler,Ross. (2009)Goths, Gamers, and Grrrls: Deviance and Youth Subcultures. ISBN (/wiki/ISBN_(identifier)) 978-0-19-539666-9 (/wiki/Special:BookSources/978-0-19-539666-9) ^ (#cite_ref-17) Kass, Jeff.(2009) Columbine: A True Crime Story, a victim, the killers and the nation's search for answers. ISBN (/wiki/ISBN_(identifier)) 978-0-9816525-6-6 (/wiki/Special:BookSources/978-0-9816525-6-6) ^ (#cite_ref-18) Goodlad,Lauren M.E. (2007) Goth: Undead Subculture. ISBN (/wiki/ISBN_(identifier)) 978-0-8223-3921-2 (/wiki/Special:BookSources/978-0-8223-3921-2) ^ (#cite_ref-19) English, Bonnie. (2007) A Cultural History of Fashion in the Twentieth Century: From the Catwalk to the Sidewalk. ISBN (/wiki/ISBN_(identifier)) 978-1-84520-342-9 (/wiki/Special:BookSources/978-1-84520-342-9) ^ (#cite_ref-autogenerated2004_20-0) McKell, Iain (2004) Fashion Forever: 30 Years of Subculture. ISBN (/wiki/ISBN_(identifier)) 978-1-903781-08-1 (/wiki/Special:BookSources/978-1-903781-08-1) ^ (#cite_ref-21) St.John, Graham.(2004).Rave culture and religion. ISBN (/wiki/ISBN_(identifier)) 0-415-31449-6 (/wiki/Special:BookSources/0-415-31449-6) ^ (#cite_ref-22) Reynolds,Simon.(1999)Generation ecstasy: into the world of techno (/wiki/Techno) and rave culture. ISBN (/wiki/ISBN_(identifier)) 0-415-92373-5 (/wiki/Special:BookSources/0-415-92373-5) ^ (#cite_ref-23) Simon, Leslie. (2009)Wish You Were Here: An Essential Guide to Your Favorite Music Scenes-from Punk to Indie and Everything in Between. ISBN (/wiki/ISBN_(identifier)) 0-06-157371-X (/wiki/Special:BookSources/0-06-157371-X) v t e Fashion (/wiki/Fashion) articles Index of fashion articles (/wiki/Index_of_fashion_articles) General Environmental impact of fashion (/wiki/Environmental_impact_of_fashion) Fashion accessory (/wiki/Fashion_accessory) Fashion design (/wiki/Fashion_design) Fashion design copyright (/wiki/Fashion_design_copyright) Fashion matrix (/wiki/Fashion_matrix) Fashion museum (/wiki/Fashion_museum) Fashion plate (/wiki/Fashion_plate) Fashion tourism (/wiki/Fashion_tourism) Semiotics of fashion (/wiki/Semiotics_of_fashion) History (/wiki/History_of_fashion_design) History of clothing and textiles (/wiki/History_of_clothing_and_textiles) History of Western fashion (/wiki/History_of_Western_fashion) History of fashion design (/wiki/History_of_fashion_design) Timeline of clothing and textiles technology (/wiki/Timeline_of_clothing_and_textiles_technology) 19th century (/wiki/19th_century_in_fashion) 21st century (/wiki/21st_century_in_fashion) Events (/wiki/List_of_fashion_events) Fashion show (/wiki/Fashion_show) Fashion week (/wiki/Fashion_week) Industry (/wiki/Fashion_industry) Awards (/wiki/Category:Fashion_awards) Clothing industry (/wiki/Clothing_industry) Designer clothing (/wiki/Designer_clothing) Digital fashion (/wiki/Digital_fashion) Fashion blog (/wiki/Fashion_blog) Fashion capital (/wiki/Fashion_capital) Fashion entrepreneur (/wiki/Fashion_entrepreneur) Fashion editor (/wiki/Fashion_editor) Fashion forecasting (/wiki/Fashion_forecasting) Fashion illustration (/wiki/Fashion_illustration) Fashion influencer (/wiki/Fashion_influencer) Fashion journalism (/wiki/Fashion_journalism) Fashion law (/wiki/Fashion_law) Fashion photography (/wiki/Fashion_photography) Fashion merchandising (/wiki/Fashion_merchandising) Fast fashion (/wiki/Fast_fashion) in China (/wiki/Fast_fashion_in_China) Red carpet fashion (/wiki/Red_carpet_fashion) Social media in the fashion industry (/wiki/Social_media_in_the_fashion_industry) Sweatshop (/wiki/Sweatshop) Trickle-up fashion (/wiki/Trickle-up_fashion) Traditional clothing Ceremonial (/wiki/Ceremonial_dress) Court (/wiki/Court_dress) Diplomatic (/wiki/Diplomatic_uniform) Academic (/wiki/Academic_dress) Military (/wiki/Military_uniform) Full (/wiki/Full_dress_uniform) Mess (/wiki/Mess_dress_uniform) Service (/wiki/Service_dress_uniform) Sailor (/wiki/Sailor_suit) Combat (/wiki/Combat_uniform) Folk (/wiki/Folk_costume) Western dress codes (/wiki/Western_dress_codes) Formal (/wiki/Formal_wear) Morning dress (/wiki/Morning_dress) White tie (/wiki/White_tie) Ball gown (/wiki/Ball_gown) Semi-formal (/wiki/Semi-formal_wear) Black lounge suit (/wiki/Black_lounge_suit) Black tie (/wiki/Black_tie) Evening gown (/wiki/Evening_gown) Informal (/wiki/Informal_wear) Suit (/wiki/Suit) Cocktail dress (/wiki/Cocktail_dress) Pantsuit (/wiki/Pantsuit) Religious (/wiki/Religious_clothing) Christian (/wiki/Christian_clothing) Jewish (/wiki/Jewish_religious_clothing) Islamic (/wiki/Islamic_fashion) Modest fashion (/wiki/Modest_fashion) Casual (/wiki/Casual_wear) Smart casual (/wiki/Smart_casual) British country clothing (/wiki/British_country_clothing) Business casual (/wiki/Business_casual) Chic (/wiki/Chic) Cruise collection (/wiki/Cruise_collection) Preppy (/wiki/Preppy) Ivy League (/wiki/Ivy_League_(clothes)) Mod (/wiki/Mod_(subculture)) Sloane Ranger (/wiki/Sloane_Ranger) Teddy Boys (/wiki/Teddy_Boys) Young fogey (/wiki/Young_fogey) Street fashion (/wiki/Street_fashion) Streetwear (/wiki/Streetwear) Hip hop (/wiki/Hip_hop_fashion) Hippie (/wiki/Hippie#Art_and_fashion) Hipster (/wiki/Hipster_(contemporary_subculture)) Sportswear (/wiki/Sportswear) Athleisure (/wiki/Athleisure) Gorpcore (/wiki/Gorpcore) Sportswear fashion (/wiki/Sportswear_(fashion)) Surfwear (/wiki/Surfwear) Ghetto fabulous (/wiki/Ghetto_fabulous) Bling-bling (/wiki/Bling-bling) Vintage fashion (/wiki/Vintage_clothing) Alternative Androgyny (/wiki/Androgyny_in_fashion) Bohemian (/wiki/Bohemian_style) Emo (/wiki/Emo) Fetish (/wiki/Fetish_fashion) Gothic (/wiki/Gothic_fashion) Lolita (/wiki/Lolita_fashion) Queer (/wiki/Queer_fashion) Skinhead (/wiki/Skinhead) Steampunk (/wiki/Steampunk_fashion) Thrift store chic (/wiki/Thrift_store_chic) Rocker (/wiki/Rocker_(subculture)) Greaser (/wiki/Greaser_(subculture)) Glam (/wiki/Glam_rock) Grunge (/wiki/Grunge_fashion) Heavy metal (/wiki/Heavy_metal_fashion) Punk (/wiki/Punk_fashion) Skate (/wiki/Skate_punk) Rockabilly (/wiki/Rockabilly) By country American fashion (/wiki/Fashion_in_the_United_States) Canadian fashion (/wiki/Canadian_fashion) Chinese fashion (/wiki/Chinese_fashion) Filipino fashion (/wiki/Fashion_in_the_Philippines) French fashion (/wiki/French_fashion) German fashion (/wiki/German_fashion) Indian fashion (/wiki/Fashion_in_India) Iranian fashion (/wiki/Fashion_in_Iran) Israeli fashion (/wiki/Israeli_fashion) Italian fashion (/wiki/Italian_fashion) History (/wiki/History_of_Italian_fashion) Japanese fashion (/wiki/Japanese_street_fashion) Nigerian fashion (/wiki/Fashion_in_Nigeria) Russian fashion (/wiki/Russian_fashion) South Korean fashion (/wiki/Fashion_in_South_Korea) Swedish fashion (/wiki/Swedish_fashion) Thai fashion (/wiki/History_of_Thai_clothing) Vietnamese clothing (/wiki/Vietnamese_clothing) Fashion activism (/wiki/Fashion_activism) Anti-fashion (/wiki/Anti-fashion) Anti-sweatshop movement (/wiki/Anti-sweatshop_movement) Circular fashion (/wiki/Circular_fashion) Sustainable fashion (/wiki/Sustainable_fashion) Slow fashion (/wiki/Slow_fashion) Trashion (/wiki/Trashion) Zero-waste fashion (/wiki/Zero-waste_fashion) See also Ballet and fashion (/wiki/Ballet_and_fashion) Capsule wardrobe (/wiki/Capsule_wardrobe) Chinoiserie in fashion (/wiki/Chinoiserie_in_fashion) Dress code (/wiki/Dress_code) Undress (/wiki/Undress_code) Music and fashion (/wiki/Music_and_fashion) Fashion victim (/wiki/Fashion_victim) Fashion portal (/wiki/Portal:Fashion) v t e Goth subculture Associated music Gothic rock (/wiki/Gothic_rock) Gothabilly (/wiki/Gothabilly) Gothic country (/wiki/Gothic_country) Deathrock (/wiki/Deathrock) Cold wave (/wiki/Cold_wave_(music)) Dark wave (/wiki/Dark_wave) Ethereal wave (/wiki/Ethereal_wave) Notable bands The Cure (/wiki/The_Cure) Christian Death (/wiki/Christian_Death) Bauhaus (/wiki/Bauhaus_(band)) Siouxsie and the Banshees (/wiki/Siouxsie_and_the_Banshees) Joy Division (/wiki/Joy_Division) The Sisters of Mercy (/wiki/The_Sisters_of_Mercy) The Damned (/wiki/The_Damned_(band)) Alien Sex Fiend (/wiki/Alien_Sex_Fiend) Dead Can Dance (/wiki/Dead_Can_Dance) Cocteau Twins (/wiki/Cocteau_Twins) Fields of the Nephilim (/wiki/Fields_of_the_Nephilim) List of gothic rock artists (/wiki/List_of_gothic_rock_artists) Notable figures Robert Smith (/wiki/Robert_Smith_(musician)) Peter Murphy (/wiki/Peter_Murphy_(musician)) Siouxsie Sioux (/wiki/Siouxsie_Sioux) Ian Curtis (/wiki/Ian_Curtis) Andrew Eldritch (/wiki/Andrew_Eldritch) Nick Cave (/wiki/Nick_Cave) Cassandra Peterson/Elvira (/wiki/Cassandra_Peterson) Eva O (/wiki/Eva_O) Dinah Cancer (/wiki/Dinah_Cancer) Monica Richards (/wiki/Monica_Richards) Lisa Hammer (/wiki/Lisa_Hammer) Rozz Williams (/wiki/Rozz_Williams) Gitane DeMone (/wiki/Gitane_DeMone) Patricia Morrison (/wiki/Patricia_Morrison) Carl McCoy (/wiki/Carl_McCoy) Elizabeth Fraser (/wiki/Elizabeth_Fraser) Doc Hammer (/wiki/Doc_Hammer) Lisa Gerrard (/wiki/Lisa_Gerrard) Brendan Perry (/wiki/Brendan_Perry) Bethany Black (/wiki/Bethany_Black) Wednesday Mourning (/wiki/Wednesday_Mourning) Regional scenes Camden Town (/wiki/Camden_Town) Chicago (/wiki/Neo_(nightclub)) Cleveland (/wiki/Phantasy_Theater) Singapore Dark Alternative Movement (/wiki/Singapore_Dark_Alternative_Movement) Toronto (/wiki/Toronto_goth_scene) Notable club nights F Club (1977–1982) (/wiki/F_Club) Le Phonographique (1979–2005) (/wiki/Le_Phonographique) Batcave (1982–1985) (/wiki/Batcave_(club)) Slimelight (1987–) (/wiki/Electrowerkz#Slimelight) Death Guild (1993–) (/wiki/Death_Guild) Xmortis (2004–) (/wiki/Xmortis) Notable events Wave-Gotik-Treffen (/wiki/Wave-Gotik-Treffen) M'era Luna Festival (/wiki/M%27era_Luna_Festival) Drop Dead Festival (/wiki/Drop_Dead_Festival) Lumous Gothic Festival (/wiki/Lumous_Gothic_Festival) Whitby Goth Weekend (/wiki/Whitby_Goth_Weekend) Convergence (goth festival) (/wiki/Convergence_(goth_festival)) Bats Day in the Fun Park (/wiki/Bats_Day_in_the_Fun_Park) World Goth Day (/wiki/World_Goth_Day) List of gothic festivals (/wiki/List_of_gothic_festivals) Art and fashion Art (/wiki/New_Gothic) Fashion (/wiki/Gothic_fashion) Lip Service (/wiki/Drew_Bernstein) Gothic Beauty (/wiki/Gothic_Beauty) Rose Mortem (/wiki/Rose_Mortem) Edward Gorey (/wiki/Edward_Gorey) Big hair (/wiki/Big_hair) Deathhawk (/wiki/Deathhawk) Backcombing (/wiki/Backcombing) Winklepickers (/wiki/Winklepickers) Film and literature Film (/wiki/Gothic_film) Literature (/wiki/Gothic_fiction) Tim Burton (/wiki/Tim_Burton) Edgar Allan Poe (/wiki/Edgar_Allan_Poe) The Addams Family (/wiki/The_Addams_Family) Triana Orpheus (/wiki/Triana_Orpheus) The Crow (/wiki/The_Crow) The Goodbye Family (/wiki/The_Goodbye_Family) The Munsters (/wiki/The_Munsters) The Sandman (/wiki/The_Sandman_(comic_book)) See also Gother Than Thou (/wiki/Gother_Than_Thou) Suicide of Nicola Ann Raphael (/wiki/Suicide_of_Nicola_Ann_Raphael) Murder of Sophie Lancaster (/wiki/Murder_of_Sophie_Lancaster) Post-punk (/wiki/Post-punk) Vampirefreaks.com (/wiki/Vampirefreaks.com) NewPP limit report Parsed by mw‐web.codfw.main‐69f74dcdf6‐pndfz Cached time: 20240721235137 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.756 seconds Real time usage: 1.114 seconds Preprocessor visited node count: 11442/1000000 Post‐expand include size: 75026/2097152 bytes Template argument size: 4494/2097152 bytes Highest expansion depth: 16/100 Expensive 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Printed cotton fabric worn in East Africa This article is about the African garment. For other uses, see Kanga (/wiki/Kanga_(disambiguation)) . Not to be confused with the Kangha (/wiki/Kangha_(Sikhism)) , a small comb used by Sikhs. "Khanga" redirects here. For the Russian journalist, see Yelena Khanga (/wiki/Yelena_Khanga) . Kanga (Tanzania, 2011) The jina of this kanga is Usijaze masusu kwa mambo yasokusuhu "Do not fill your mind with things that do not concern you" or "Do not get involved in matters that do not concern you" A simplified illustration of kanga. (1) pindo ; (2) mji ; (3) jina . The jina of this kanga is Bahati ni upepo sasa upo kwangu , which can be translated as "Luck is like the (blowing of the) wind, now it is on my side" The kanga (in some areas known as leso ) is a colourful fabric similar to kitenge (/wiki/Kitenge) , but lighter, worn by women and occasionally by men throughout the African Great Lakes (/wiki/African_Great_Lakes) region. It is a piece of printed cotton (/wiki/Cotton) fabric (/wiki/Textile) , about 1.5 m by 1 m, often with a border along all four sides (called pindo in Swahili), and a central part ( mji ) which differs in design from the borders. They are sold in pairs, which can then be cut and hemmed to be used as a set. Origins [ edit ] A woman wearing kanga in Siyu (/wiki/Siyu) on Pate Island (/wiki/Pate_Island) , Kenya (/wiki/Kenya) . Kangas have been a traditional type of dress amongst women in East Africa (/wiki/East_Africa) since the 19th century. [1] (#cite_note-:0-1) Merikani [ edit ] According to some sources, it was developed from a type of unbleached cotton cloth imported from the US. The cloth was known as merikani in Zanzibar, a Swahili noun (/wiki/Noun) derived from the adjective (/wiki/Adjective) American (indicative of the place it originated). Male slaves wrapped it around their waist and female slaves wrapped it under their armpits. [2] (#cite_note-2) To make the cloth more feminine, slave women occasionally dyed them black or dark blue, using locally obtained indigo. This dyed merikani was referred to as kaniki. [3] (#cite_note-3) People despised kaniki due to its association with slavery. Ex-slave women seeking to become part of the Swahili society began to decorate their merikani clothes. They did this using one of three techniques; a form of resist dying, a form of block printing or hand painting. After slavery was abolished in 1897, Kangas began to be used for self-empowerment and to indicate that the wearer had personal wealth. Lenços [ edit ] According to other sources, the origin is in the kerchief squares called lencos brought by Portuguese traders from India and Arabia. Stylish ladies in Zanzibar (/wiki/Zanzibar) and Mombasa (/wiki/Mombasa) , started to use them stitching together six kerchiefs in a 3X2 pattern to create one large rectangular wrap. Soon they became popular in the whole coastal region, later expanding inland to the Great Lakes region. They are still known as lesos or lessos in some localities, after the Portuguese word. Manufacture [ edit ] Until the mid-twentieth century, they were mostly designed and printed in India, the Far East and Europe. Since the 1950s kangas started to be printed also in the city of Morogoro in Tanzania (MeTL Group Textile Company) and Kenya (Rivatex and Thika Cloth Mills Ltd are some of the largest manufacturers in Kenya) and other countries on the African continent. [1] (#cite_note-:0-1) Proverbs [ edit ] Swahili Proverb In the early 1900s, proverbs, sayings, aphorisms and slogans were added to kangas. A trader in Mombasa, Kaderdina Hajee Essak, also known as "Abdulla", began to distinguish his kangas with the mark "K.H.E. - Mali ya Abdulla", [4] (#cite_note-4) to which he often added a proverb in Swahili. Initially they were printed in Arabic script (/wiki/Arabic_script) , and later in Roman letters (/wiki/Latin_script) . [1] (#cite_note-:0-1) Towards the eastern part of the region, phrases in Kiswahili (/wiki/Swahili_language) are traditional, while in central areas phrases in both Kiswahili and Lingala (/wiki/Lingala) are popular. [5] (#cite_note-5) Appearance [ edit ] Generally Kangas are 150 cm wide by 110 cm long. They are rectangular and always have a border along all four sides. Often kangas have a central symbol. Most modern kangas bear a saying, usually in Kiswahili. Kanga Wear Designs [ edit ] Kanga wear design There are many different ways to wear kangas. One traditional way of wearing the kanga is to wrap one piece as a shawl, to cover the head and shoulders, and another piece wrapped around the waist. Kangas are also used as baby carriers. [6] (#cite_note-6) It can also be used by women for the Swahili traditional dance chakacha (/wiki/Chakacha) . Kanga Uses [ edit ] Whereas kitenge (/wiki/Kitenge) is a more formal fabric used for nice clothing, the kanga is much more than a clothing piece, it can be used as a skirt, head-wrap, apron, pot-holder, towel, and much more. The kanga is culturally significant on Eastern coast of Africa, often given as a gift for birthdays or other special occasions. [7] (#cite_note-:1-7) They are also given to mourning families in Tanzania after the loss of a family member as part of a michengo (or collection) into which many community members put a bit of money to support the family in their grief. Kangas are also similar to Kishutu and Kikoy (/wiki/Kikoy) which are traditionally worn by men. The Kishutu is one of the earliest known designs, probably named after a town in Tanzania, they are particular given to young brides as part of their dowry or by healers to cast off evil spirits. Due to its ritual function they do not always include a proverb. [7] (#cite_note-:1-7) The earliest pattern of the kanga was patterned with small dots or speckles, which look like the plumage of the guinea hen, also called "kanga" in Swahili. This is where the name comes from, contrary to the belief that it comes from a Swahili verb for to close. [ citation needed ] Communication vehicle [ edit ] Kangas drying on a line in Paje (/wiki/Paje,_Zanzibar) , Zanzibar (/wiki/Zanzibar) , Tanzania (/wiki/Tanzania) Typically, kangas consist of three parts: The pindo (wide border), the mji (central motif), Ujumbe or jina (the Kiswahili) is featured on a strip which contains a message. It is less commonly written in Arabic (/wiki/Arabic_language) or Comorian (/wiki/Comorian_language) . Other countries which produce their own Kangas write the Kanga messages/names in their main languages: in Madagascar (/wiki/Madagascar) (Malagasy Republic) where they are known as lambas (/wiki/Lamba_(garment)) , they feature ohabolana (/wiki/Ohabolana) , traditional proverbs written in Malagasy (/wiki/Malagasy_language) ; they are also produced in Zambia (/wiki/Zambia) and Malawi (/wiki/Malawi) . This message is called the jina (literally 'name') of the kanga. Messages are often in the form of riddles or proverbs. When giving a kanga as a gift, one must be mindful of the proverb, as they can be somewhat insulting. Occasionally, one of these is given as a gift at a wedding to express a person's opinion that the couple should not be married. However, most of the messages express kind sentiments and good wishes. Some examples of proverbs: Majivuno hayafai : Greed is never useful [8] (#cite_note-translations-8) Mkipendana mambo huwa sawa : Everything is all right if you love each other [8] (#cite_note-translations-8) Japo sipati tamaa sikati : Even though I have nothing, I have not given up my desire to get what I want [8] (#cite_note-translations-8) Wazazi ni dhahabu kuwatunza ni thawabu : Parents are gold; to take care of them is a blessing [8] (#cite_note-translations-8) Sisi sote abiria dereva ni Mungu : We are all passengers, God is the driver [8] (#cite_note-translations-8) Fimbo La Mnyonge Halina Nguvu : Might is right. [9] (#cite_note-9) (lit. "the weak stick has no power") Mwanamke mazingira tuanataka, usawa, amani, maendelo : We (women) want equality, peace, and progress [8] (#cite_note-translations-8) Naogopa simba na meno yake siogopi mtu kwa maneno yake : I'm afraid of a lion with its strong teeth but not a man with his words [8] (#cite_note-translations-8) (lyrics). Leo ni siku ya shangwe na vigelegele : Today is a day for celebrations and ululations. Mchungulia bahari si msafiri : One who only looks at the sea is not a sailor. [10] (#cite_note-10) Political Vehicle [ edit ] Former USA President on a Kanga Kanga can also be used to send political messages, mostly used during the campaign time [11] (#cite_note-11) Women will wear a specific Kanga to communicate a non-verbal message to their community. This form of communication, often between women can be about personal feeling, relationship, political, education. health or religion [12] (#cite_note-12) See also [ edit ] Africa portal (/wiki/Portal:Africa) Fashion portal (/wiki/Portal:Fashion) Capulana (/wiki/Capulana) Notes [ edit ] ^ Jump up to: a b c "Kanga history" (http://www.glcom.com/hassan/kanga_history.html) . www.glcom.com . Retrieved 2017-07-30 . ^ (#cite_ref-2) Jeremy., Prestholdt (2008). Domesticating the world : African consumerism and the genealogies of globalization . Berkeley: University of California Press. ISBN (/wiki/ISBN_(identifier)) 9780520254237 . OCLC (/wiki/OCLC_(identifier)) 499452328 (https://www.worldcat.org/oclc/499452328) . ^ (#cite_ref-3) Laura., Fair (2001). Pastimes and Politics : Culture, Community, and Identity in Post-Abolition Urban Zanzibar, 1890-1945 . Athens: Ohio University Press. ISBN (/wiki/ISBN_(identifier)) 9780821413845 . OCLC (/wiki/OCLC_(identifier)) 649929751 (https://www.worldcat.org/oclc/649929751) . ^ (#cite_ref-4) "KHE Kanga in the British Museum" (http://www.britishmuseum.org/collectionimages/AN00711/AN00711167_001_l.jpg) . ^ (#cite_ref-5) Masawe, Sian (2018-03-02). "Traditional African Clothing: A Guide To Kanga from East Africa" (https://kitengestore.com/traditional-african-clothing-guide-kanga-east-africa/) . Kitenge Store . Retrieved 2024-04-22 . ^ (#cite_ref-6) Jeannette., Hanby (2008). Kangas, 101 uses . Bygott, David. (2nd ed.). Nairobi: Haria's Stamp Shop. ISBN (/wiki/ISBN_(identifier)) 978-9966714602 . OCLC (/wiki/OCLC_(identifier)) 754104822 (https://www.worldcat.org/oclc/754104822) . ^ Jump up to: a b John., Picton (1995). The art of African textiles : technology, tradition, and lurex . Becker, Rayda., Barbican Art Gallery. London: Barbican Art Gallery. ISBN (/wiki/ISBN_(identifier)) 0853316821 . OCLC (/wiki/OCLC_(identifier)) 34052769 (https://www.worldcat.org/oclc/34052769) . ^ Jump up to: a b c d e f g "Alphabetical List of Inscriptions and Their Translations: Kanga & Kitenge: Cloth and Culture in East Africa" (https://web.archive.org/web/20160303180829/http://erieartmuseum.org/exhibits/exhibits2008/kanga/documents/Translations.pdf) (PDF) . Erie Art Museum (/wiki/Erie_Art_Museum) . Archived from the original (http://www.erieartmuseum.org/exhibits/exhibits2008/kanga/documents/Translations.pdf) (PDF) on 3 March 2016 . Retrieved 5 December 2021 . ^ (#cite_ref-9) Howden, Daniel (14 November 2009). "Kangalicious: Let your dress do the talking" (https://www.independent.co.uk/life-style/fashion/news/kangalicious-let-your-dress-do-the-talking-1820408.html) . The Independent . Retrieved 14 November 2009 . Anyone wearing a kanga with the proverb Fimbo La Mnyonge Halina Nguvu" (Might is Right) may know something about the darker side of the garment's journey from the coast into the interior. ^ (#cite_ref-10) Hoffelder, Timothy (2017-12-20). Who Only Looks at the Sea . Windy City Publishers. ISBN (/wiki/ISBN_(identifier)) 978-1-941478-58-5 . ^ (#cite_ref-11) "Kanga: A Cloth That Unites" (https://artsandculture.google.com/story/kanga-a-cloth-that-unites/UQXRRgiEQNcJLA) . Google Arts & Culture . Retrieved 2024-04-22 . ^ (#cite_ref-12) Masawe, Sian (2018-03-02). "Traditional African Clothing: A Guide To Kanga from East Africa" (https://kitengestore.com/traditional-african-clothing-guide-kanga-east-africa/) . Kitenge Store . Retrieved 2024-04-25 . References [ edit ] Beck, Rose-Marie (2001). 'Ambiguous signs: the role of the 'kanga' as a medium of communication' (https://web.archive.org/web/20110719110029/http://www.ifeas.uni-mainz.de/SwaFo/swafo8/8_14_beck.pdf) , Afrikanistische Arbeitspapiere , 68, 157–169. Erie Art Museum. "Kanga & Kitenge: Cloth and Culture in East Africa" (https://web.archive.org/web/20100203175335/http://www.erieartmuseum.org/exhibits/exhibits2008/kanga/kanga.html) Hanby, Jeanette & David Bygott, (2006) 'Kangas - 101 Uses', HariaStamp Publishers, ISBN (/wiki/ISBN_(identifier)) 9966-7146-0-X (/wiki/Special:BookSources/9966-7146-0-X) Hongoke, Christine J. (1993) The effects of Khanga inscription as a communication vehicle in Tanzania , Research report, 19. Dar es Salaam: Women's Research and Documentation Project. Linnebuhr, E. (1992) 'Kanga: popular cloths with messages', in Werner Graebner (ed.) Sokomoko: Popular Culture in East Africa (Matatu vol. 9). Rodopi, 81–90. Parkin, David (2004) 'Textile as commodity, dress as text: Swahili kanga and women's statements', in Ruth Barnes (ed.) Textiles in Indian Ocean Societies . London/New York: Routledge, 47–67. Yahya-Othman, Saida (1997) 'If the cap fits: 'kanga' names and women's voice in Swahili society' (https://web.archive.org/web/20110516235011/http://www.ifeas.uni-mainz.de/SwaFo/swafo4/4_10_Othman.pdf) , Afrikanistische Arbeitspapiere , 51, 135–149. Kahabi, CM. (2010) Kanga and Vitenge in Remanufactured Fashion; University of Manchester. External links [ edit ] Wikimedia Commons has media related to Kanga (https://commons.wikimedia.org/wiki/Category:Kanga) . Scholia (https://www.wikidata.org/wiki/Wikidata:Scholia) has a topic profile for Kanga (garment) (https://iw.toolforge.org/scholia/topic/Q942219) . Kanga pictures (http://www.glcom.com/hassan/kanga/kanga1.html) Kanga writings (http://www.glcom.com/hassan/kanga.html) Collection of and commentary on 436 sayings on East African cloth (http://www.afriprov.org/bibliography/367--collection-of-and-commentary-on-436-sayings-on-east-african-cloth-misemo-kwenye-khanga-na-vitenge-vya-afrika-mashariki.html) Archived (https://web.archive.org/web/20190627110326/https://www.afriprov.org/bibliography/367--collection-of-and-commentary-on-436-sayings-on-east-african-cloth-misemo-kwenye-khanga-na-vitenge-vya-afrika-mashariki.html) 2019-06-27 at the Wayback Machine (/wiki/Wayback_Machine) (in English) Kanga information at Center for African Studies University of Illinois, Urbana-Champaign (http://swahiliproverbs.afrst.illinois.edu/kangas.htm) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐jx9j7 Cached time: 20240720165328 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.440 seconds Real time usage: 0.812 seconds Preprocessor visited node count: 1420/1000000 Post‐expand include size: 30411/2097152 bytes Template argument size: 1526/2097152 bytes Highest expansion depth: 14/100 Expensive parser function count: 7/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 53110/5000000 bytes Lua time usage: 0.276/10.000 seconds Lua memory usage: 16650553/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 531.947 1 -total 28.95% 153.997 1 Template:Reflist 19.60% 104.281 1 Template:In_lang 19.58% 104.178 6 Template:Cite_web 14.72% 78.282 1 Template:Short_description 9.27% 49.293 1 Template:Citation_needed 8.31% 44.198 1 Template:Commons_category 8.23% 43.801 1 Template:Fix 8.02% 42.681 2 Template:Pagetype 7.88% 41.914 1 Template:Sister_project Saved in parser cache with key enwiki:pcache:idhash:7105215-0!canonical and timestamp 20240720165328 and revision id 1221228200. 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Sleeveless jacket For other uses, see Gilet (disambiguation) (/wiki/Gilet_(disambiguation)) . A typical, modern, hooded (/wiki/Hood_(headgear)) down gilet (/wiki/Down_jacket) featuring seamless quilted pockets filled with down (/wiki/Down_feather) . A gilet ( / (/wiki/Help:IPA/English) dʒ ɪ ˈ l eɪ / (/wiki/Help:IPA/English) ) or body warmer is a sleeveless jacket resembling a waistcoat (/wiki/Waistcoat) or blouse (/wiki/Blouse) . [1] (#cite_note-1) It may be waist- to knee-length and is typically straight-sided rather than fitted; however, historically, gilets were fitted and embroidered. [2] (#cite_note-2) In 19th-century dressmaking a gilet was a dress bodice shaped like a man's waistcoat. [3] (#cite_note-3) Today, gilets are often worn as an outer layer, for extra warmth outdoors, or indoors on occasion. Fashion gilets may be made of cloth, fake fur, or knitted wool. Sports gilets are often windproof and/or made of fleece (/wiki/Wool) . High-end hiking (/wiki/Hiking) jackets often have an integral gilet inside them, that can be zipped on and off and can be insulated with down (/wiki/Down_feathers) . Racing cyclists (/wiki/Racing_cyclist) use thin light gilets with a windproof front and mesh back. Shooting gilets are rugged and made of leather. Short, overwear gilets are called bodywarmers in the United Kingdom. Gallery [ edit ] Derivatives and styles of gilets A typical thin, non-insulated cycling gilet Two men wearing gilets at Strasbourg railway station in France. See also [ edit ] Fashion portal (/wiki/Portal:Fashion) British country clothing (/wiki/British_country_clothing) Cycling kit (/wiki/Cycling_kit) Jerkin (garment) (/wiki/Jerkin_(garment)) Journade (/wiki/Journade) Scapular (/wiki/Scapular) Surcoat (/wiki/Surcoat) Tabard (/wiki/Tabard) Vest (/wiki/Vest) Yelek (/wiki/Yelek) References [ edit ] Look up gilet (https://en.wiktionary.org/wiki/gilet) or bodywarmer (https://en.wiktionary.org/wiki/bodywarmer) in Wiktionary, the free dictionary. ^ (#cite_ref-1) "Merriam-Webster Unabridged – Gilet entry" (http://unabridged.merriam-webster.com/cgi-bin/unabridged?va=gilet) . ^ (#cite_ref-2) "Sugino Costume Museum" (http://www.costumemuseum.jp/french/collection/w_komono/k1.html) . www.costumemuseum.jp . ^ (#cite_ref-3) Oxford English Dictionary – Gilet entry v t e Clothing (/wiki/Clothing) History (/wiki/History_of_clothing_and_textiles) Industry (/wiki/Clothing_industry) Technology (/wiki/Clothing_technology) Terminology 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Equipment and attire for physical activity This article is about clothing for sports. For fashionable clothing identified and marketed as 'sportswear', see Sportswear (fashion) (/wiki/Sportswear_(fashion)) . This article needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Sportswear) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed. Find sources: "Sportswear" (https://www.google.com/search?as_eq=wikipedia&q=%22Sportswear%22) – news (https://www.google.com/search?tbm=nws&q=%22Sportswear%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Sportswear%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Sportswear%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Sportswear%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Sportswear%22&acc=on&wc=on) ( August 2013 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) U.S. Navy (/wiki/U.S._Navy) sailors exercising in the presence of a fitness instructor. All of them are wearing sportswear appropriate for doing exercise (/wiki/Exercise) . 100 m race record holder Usain Bolt (/wiki/Usain_Bolt) (in yellow) and other runners in sportswear. Part of a series (/wiki/Category:Formal_wear) on Western dress codes (/wiki/Western_dress_codes) and corresponding attires (/wiki/Clothing) Formal (/wiki/Formal_wear) ( full dress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) ) White tie (/wiki/White_tie) Morning dress (/wiki/Morning_dress) Full dress uniform (/wiki/Full_dress_uniform) Frock coat (/wiki/Frock_coat) Evening gown (/wiki/Evening_gown) Ball gown (/wiki/Ball_gown) Semi-formal (/wiki/Semi-formal_wear) ( half dress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) ) Black tie (/wiki/Black_tie) Black lounge suit (/wiki/Black_lounge_suit) Mess dress uniform (/wiki/Mess_dress_uniform) Evening gown (/wiki/Evening_gown) Cocktail dress (/wiki/Cocktail_dress) Informal (/wiki/Informal_wear) ( undress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) , "dress clothes") Suit (/wiki/Suit) Service dress uniform (/wiki/Service_dress_uniform) Cocktail dress (/wiki/Cocktail_dress) Pantsuit (/wiki/Pantsuit) Casual (/wiki/Casual_wear) (anything not above) Business casual (/wiki/Business_casual) Casual Friday (/wiki/Casual_Friday) Combat uniform (/wiki/Combat_uniform) Smart casual (/wiki/Smart_casual) Workwear (/wiki/Workwear) Streetwear (/wiki/Streetwear) Sportswear known as Sportswear (fashion) (/wiki/Sportswear_(fashion)) and Athleisure (/wiki/Athleisure) Undress (/wiki/Undress_code) Supplementary alternatives Ceremonial dress (/wiki/Ceremonial_dress) law courts (/wiki/Court_dress) royal courts (/wiki/Court_uniform_and_dress_in_the_United_Kingdom) diplomatic (/wiki/Diplomatic_uniform) academic (/wiki/Academic_dress) , etc. Religious clothing (/wiki/Religious_clothing) cassock (/wiki/Cassock) , habit (/wiki/Religious_habit) , etc. Folk costume (/wiki/Folk_costume) Distinctions Orders (/wiki/Order_(distinction)) medals (/wiki/Medal) , etc. Legend: = Day (before 6 p.m.) = Evening (after 6 p.m.) = Bow tie (/wiki/Bow_tie) colour = Ladies = Gentlemen Fashion portal (/wiki/Portal:Fashion) v t e Sportswear or activewear is athletic clothing (/wiki/Clothing#Sport_and_activity) , including footwear (/wiki/Footwear#Shoes) , worn for sports (/wiki/Sport) activity or physical exercise (/wiki/Physical_exercise) . Sport-specific clothing is worn for most sports and physical exercise, for practical, comfort or safety reasons. Typical sport-specific garments include tracksuits (/wiki/Tracksuit) , shorts (/wiki/Shorts) , football or basketball jerseys, t-shirts (/wiki/T-shirt) and polo shirts (/wiki/Polo_shirt) . Specialized garments include swimsuits (/wiki/Swimsuit#Competitive_swimwear) (for swimming (/wiki/Human_swimming) ), wet suits (/wiki/Wet_suit) (for diving (/wiki/Underwater_diving) or surfing (/wiki/Surfing) ), ski suits (/wiki/Ski_suit) (for skiing (/wiki/Skiing) ) and leotards (/wiki/Leotards) and tights (for gymnastics or aerobics (/wiki/Gymnastics) ). Sports footwear includes football boots (also referred to as cletes), trainers, riding boots (/wiki/Riding_boot) , tennis shoes (or running shoes), or ice skates (/wiki/Ice_skate) . Sportswear also includes sports bras for running, crop tops, or a bikini top (/wiki/Crop_tops) . Sportswear is often worn as casual (/wiki/Casual_attire) fashion (/wiki/Fashion) clothing. For most sports the athletes wear a combination of different items of clothing, e.g. sport shoes (/wiki/Sport_shoe) , pants (/wiki/Trousers) and shirts (/wiki/Shirt) . In some sports, protective gear may need to be worn, such as helmets (/wiki/Helmet) or American football (/wiki/American_football) body armour. Especially in team sports (/wiki/Team_sport) which involved blocking, intercepting, or pursuing small, hard projectiles such as cricket (/wiki/Cricket) , baseball (/wiki/Baseball) , and hockey (/wiki/Hockey) (where balls or pucks are struck to speeds in excess of 100 miles per hour (45 m/s)) jockstraps (/wiki/Jockstrap) (or jillstraps) are standard equipment at higher levels of play. Other undergarments (/wiki/Undergarments) , such as the sports bra (/wiki/Sports_bra) , furnish a mixture of protection, support and comfort. Some protective or supportive orthotics (/wiki/Orthotics) resemble and function as undergarments (especially flexible harnesses and braces); though intended to be worn for sports, these are not generally conceived of as sportswear per se . Sports fabrics are technical materials which help to keep the wearer comfortable during exercise. The type of fabric required will depend upon the intensity of the exercise and the activity. Gym or Yoga clothing (/wiki/Yoga_pants) uses fabrics with exceptional stretch ability for easy movement which will likely require the fabric to be cotton, nylon or lycra. Apparel for long-distance running will keep the wearer in good comfort if it has excellent moisture wicking properties to enable sweat to transfer from the inside to the outside for the garment. Performance clothing for outdoor sports in the winter or snow sports should use breathable fabrics with very good insulating properties. In wealthy and rising economies, sportswear is a major consumption (/wiki/Consumption_(economics)) category in the personal health (/wiki/Physical_fitness) , luxury goods (/wiki/Luxury_goods) and leisure (/wiki/Leisure) space, associated with aggressive media presence (/wiki/Online_presence_management) and marketing (/wiki/Marketing) strategies of global (/wiki/Global_marketing) scope, often centered around endorsements (/wiki/Celebrity_branding) from celebrity (/wiki/Celebrity) athletes (/wiki/Athlete) . At the very highest levels of performance, the durability requirement of a costly and technically advanced item of sportswear can be as short as a single competitive event. At lower levels of competition and participation, there are many possible trade-offs between form, function, aesthetics (fashion), performance style, durability and cost. This has led to an almost bewildering array of product offerings, especially where the collision between all these variables is most intense, in particular footwear (most especially runners (/wiki/Running_shoe) and court shoes (/wiki/Court_shoe) ), with seasonal issues, tweaks, and respins from all the major brands (/wiki/Brand) , elevated (/wiki/Conspicuous_consumption) to the level of iconic symbols (/wiki/Cultural_icon) in some cultural subgroups. Functional considerations [ edit ] Male football players of opposite teams wearing different colour outfits, while the referee is in white T-shirt. The weight, fabrication and stretchiness of the fabric is uniquely designed to suit each sport. It is typically designed not to encumber the activity of the wearer and to facilitate exercise movement without restriction. helmet (/wiki/Cycling_helmet) jersey (/wiki/Cycling_jersey) gloves (/wiki/Cycling_gloves) bib shorts (/wiki/Cycling_shorts) socks (/wiki/Socks) shoes (/wiki/Cycling_shoes) A road cyclist wearing a typical summer cycling kit (/wiki/Cycling_kit) . The best athletic wear for some forms of exercise, for example cycling (/wiki/Cycling) , is typically lightweight, stretchy and form-fitting rather than bulky, so it does not create interference with the activity. Sports uniform may not always be standardized. While generally female players of indoor volleyball (/wiki/Volleyball) wear T-shirt and shorts, in this image taken during 2004 Athens Olympics (/wiki/2004_Athens_Olympics) , the Greek team is wearing leotards (/wiki/Leotard) . On the other hand, sportswear should be loose enough to restrict movement. Some sports have specific uniform requirements, for example the keikogi (/wiki/Keikogi) used in karate (/wiki/Karate) . Various physically dangerous sports require protective gear, e.g. for fencing, American football, or ice hockey. Standardized sportswear may also function as a uniform. In team sports, such as baseball, football or basketball, the opposing teams are usually identified by the wearing the same color of clothing. Individual team members can be recognized by a back number on a shirt. In some sports, specific items of clothing are worn to differentiate roles within a team. For example, in volleyball (/wiki/Volleyball) , the libero (/wiki/Volleyball#Libero) (a specialist in defensive play) wears a different colour to that of their teammates. In sports such as soccer (/wiki/Soccer) and GAA (/wiki/Gaelic_Athletic_Association) codes, a contrasting colour or pattern is worn by the goalkeeper. In other sports, clothing may indicate the current status or past achievements of a participant. In cycling disciplines, the rainbow jersey (/wiki/Rainbow_jersey) indicates the current world champion, and in major road cycling races, jerseys (/wiki/Cycling_jersey) of particular colours are worn by the race leader and leaders of auxiliary classifications. Spandex (/wiki/Spandex) is the preferred material for form-fitting (/wiki/Form-fitting) sportswear, such as used in wrestling, track & field (/wiki/Track_%26_field) , dance, gymnastics, speed skating (/wiki/Speed_skating) , and swimming (/wiki/Human_swimming) . Sportswear is commonly used as a means for the promotion of sponsors of a sportsperson or team. In some sports, there are regulations limiting the size or design of sponsorship brand names and logos on items of clothing. Thermal properties [ edit ] Sportswear design must consider the thermal insulation (/wiki/Thermal_insulation) needs of the wearer. In hot situations, sportswear should allow the wearer to stay cool; while in cold situations, sportswear should help the wearer to stay warm. Sportswear should also be able to transfer sweat away from the skin, using, for example, moisture transferring fabric. Spandex (/wiki/Spandex) is a popular material used as base layers to soak up sweat. For example, in activities such as skiing (/wiki/Skiing) and mountain climbing (/wiki/Mountain_climbing) this is achieved by using layering: moisture transferring (wicking) materials are worn next to the skin, followed by an insulating layer, and then wind and water resistant shell garments. Moisture-wicking fabrics [ edit ] Main article: Moisture management (/wiki/Moisture_management) This section's tone or style may not reflect the encyclopedic tone (/wiki/Wikipedia:Writing_better_articles#Tone) used on Wikipedia . See Wikipedia's guide to writing better articles (/wiki/Wikipedia:Writing_better_articles#Tone) for suggestions. ( September 2023 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Moisture transferring fabric Moisture-wicking fabrics are designed to move perspiration away from the body to the fabric's outer surface where it can evaporate. These fabrics typically are soft, lightweight, and stretchy and well-suited for activewear because they are designed to keep perspiration away from the wearer's skin and onto the outer fibers of the wearer's shirt or garment. [1] (#cite_note-1) Generally sourced from synthetic fibers, it has quick drying and water repellent characteristics. If a shirt is made from a natural absorbent fabric like cotton, the moisture gets absorbed into the fibers and the shirt or garment may feel wet and heavy. Moisture-wicking fabrics such as polyester are designed to keep the sweat on the outer surface, acting like channels to transport the sweat to the outer layer of the shirt or garment. Once there, the sweat evaporates in the air. [2] (#cite_note-2) Drywicking is the newest variation of moisture wicking. It is a smart two-tier fabric that breaks the surface tension of sweat [ clarification needed ] and propels it through the hydrophobic layer into a natural wicking outer layer like cotton where it is assisted by evaporative cooling leaving your skin absolutely dry. [ dubious – discuss (/wiki/Talk:Sportswear#Dubious) ] Besides the fact that your body can perform better, [ clarification needed ] it will chemically free prevent odors because a bacteria microclimate cannot grow on dry skin. [ clarification needed ] This broad category of fabrics is used to make garments like T-shirts, sports bras, running and cycling jerseys, socks, tracksuits, and polo-style shirts for any physical activity where the goal is to keep your skin as cool and dry as possible. Moisture-wicking fabrics are used to make apparel for outdoor activities such as hiking, fishing, mountain biking, snow skiing, and mountain climbing. Due to the popularity of garments made from these fabrics, more variations are being introduced to the market. [ citation needed ] Protective wear [ edit ] U.S. Navy football helmets (/wiki/Football_helmet) Sportswear also includes the variety of protective gear required for contact sports such as lacrosse, boxing and ice hockey. Different types of protective equipment are needed depending on the type of sport and position. The types of gears include the following: headgear, gum shields, shin pads, shoulder pads, and joint supports and protective gloves. Headgear [ edit ] Sachin Tendulkar (/wiki/Sachin_Tendulkar) wearing pads (/wiki/Pads) to protect his legs. Both he and the short leg fielder wear cricket helmets (/wiki/Cricket_helmet) for protection. Headgear is required for most sports with high risk of head injuries such as American football (/wiki/American_football) , bobsledding (/wiki/Bobsleigh) and cycling (/wiki/Cycling) . Injuries related to the head have the potential to cause serious damage to the spine and may be life-threatening. [3] (#cite_note-nsmi2-3) Although sports like rugby and boxing do not require participants to wear head protection, trainers or referees may choose to depending on the player's history of head related injuries. [3] (#cite_note-nsmi2-3) Certain positions of some sports may require different type of protections. For example, goaltenders for ice hockey wear different types of face masks compared to other positions. [4] (#cite_note-:02-4) They also have thick gloves with arm pads and shin guards to protect them from the high impact of pucks. In baseball, catchers and batters wear headgear for protection against the high velocity pitches. Headgear of different kinds must meet the standards of protection set by various organizations. Helmets (/wiki/Helmet) for American football must be regulated by the National Football League or the National Collegiate Athletics Association. Although new rules of safe play have been in effect, players are still in danger of brain damage due to repeated blows to the head. [3] (#cite_note-nsmi2-3) Football players are more likely to develop brain related disorders during or after their careers compared to other sports. [5] (#cite_note-5) Eye and face shields [ edit ] Field hockey players wearing protective goggles and mouthguard Sports of all types may require eye or face protection depending on the players' need. Face masks come in different forms for different types of sports. In lacrosse and American football, the masks are metal rods attached to the helmet to cover the face. [4] (#cite_note-:02-4) While optional, face masks that might be seen in basketball or rugby are plastic masks that are usually molded to fit the players' face. [6] (#cite_note-6) Such masks are worn to minimize additional damage to an already injured part of the face. Eye protection is an additional support provided by sports goggles. Goggles may be worn in lieu of glasses or contacts. Goggles are reliable in the fact that they do not move around while the player is in motion and they protect the eye from foreign objects. [7] (#cite_note-7) For swimmers and divers, goggles keep the water away from their eyes, thus improving visibility. Mouth guards [ edit ] Mouth guards are used in many sports including but not limited to: rugby (/wiki/Rugby_football) , lacrosse, boxing, water polo, ice hockey, American football, basketball, field hockey, boxing, and various martial arts. [8] (#cite_note-:12-8) Mouth guards reduce the risk of sport related dental injuries. Contact or some team sports have a risk of causing injuries related with the mouth, jaw (/wiki/Jaw) , teeth and oral soft tissues (/wiki/Tissue_(biology)) . Wearing mouth guards may be recommended to sports players in some sports. [8] (#cite_note-:12-8) Golf attire [ edit ] Main article: Golf equipment § Clothing (/wiki/Golf_equipment#Clothing) Golfer Tiger Woods (/wiki/Tiger_Woods) in traditional men's attire Golf has a long tradition of specialized attire—attire that reflects the tradition of Scottish aristocrats taking in fresh air while walking around the golf course, swinging their golf clubs, and exercising in a refined, genteel sort of way. [ citation needed ] Golf attire though, is also being influenced by modern fabrics and trends that stress function and durability. Golfers, like athletes in other sports, are athletes first, and public figures second. Athletes in all sports are showing a preference for moisture-wicking fabrics, crisp details, and modern fashionable colors. Snow gear and ski apparel [ edit ] Further information: Ski suit (/wiki/Ski_suit) Professional USA ski racer Lindsey Vonn (/wiki/Lindsey_Vonn) dressed for a race. Different types of attire are needed for extreme weather conditions like snow. Thicker coats or jackets, gloves and boots are necessities in the cold. Winter sports such as snowboarding and skiing require the riders and skiers to be properly geared in the snow. Snow jackets differ from casual coats such that they may be packed with extra insulation and thicker coating materials. The insulation is usually made with down, which is the layer of fine feathers from geese or ducks. [9] (#cite_note-berry2-9) These feathers are naturally insulated to keep the birds warm in the harsh winter weathers. The feathers trap air inside and keep the body heat from flowing out. Down is also considered to be the highest quality of insulation for jackets. It is light and compressible. Alternative types of insulation are being invented including: synthetic microfibers and polyester-based insulation. [9] (#cite_note-berry2-9) These materials perform as well as down if not better and are becoming popular in the markets with the help of major brands using such materials for their equipment. Winter gear must also be flexible so that it may offer a wide range of movement. An ideal jacket would have enough insulation to be warm but light, it should be made with material that are not restricting. [10] (#cite_note-porter2-10) Jackets with down will be light and warm but they tend to be more expensive. Also down jackets usually are not water-resistant. Synthetic insulated jackets, however, are water-resistant and cheaper than down but lose their insulating factors and are heavier. [10] (#cite_note-porter2-10) Sales trends for activewear [ edit ] A woman wearing sports bra (/wiki/Sports_bra) and boyshorts (/wiki/Boyshorts) , which were conventionally women's sportswear but are now also worn as casuals (/wiki/Casual_attire) or athleisure (/wiki/Athleisure) by women in the West. As activewear becomes more fashionable and more popular with consumers, sales have increased. Activewear market was valued at $351,164 million in 2017, and is projected to hit $546,802 million by 2024, at a CAGR (/wiki/CAGR) of 6.5% from 2018 to 2024. North America dominated the global activewear market in 2017, accounting for 42.3% of the total revenue. [11] (#cite_note-11) Some analysts attribute the growth in sales to an intrinsic change in the way activewear is designed. “Historically, what had been available to women were items based on a men's item that were just made smaller and turned a flattering color like pink,” said Scott Key, senior vice president and general manager of Athleta. “Women athletes expected more.” [12] (#cite_note-crainsnewyork1-12) Designers have recognized this "crossover" between exercise and fashion as a major opportunity for growth. It also synchronises with anoverall trend in American fashion towards a more casual style of dress. [ citation needed ] The trend has been so popular that it has spawned a new category of casual clothing, athleisure (/wiki/Athleisure) . Gender difference [ edit ] Tennis player Maria Sharapova (/wiki/Maria_Sharapova) in different types of women's clothing- miniskirt (left), minidress (centre) and shorts (right). In sports like tennis (/wiki/Tennis) , while men generally wear shorts (/wiki/Shorts) (along with T-shirt (/wiki/T-shirt) or sleeveless shirt (/wiki/Sleeveless_shirt) ), in case of women there is an option of wearing miniskirt (/wiki/Miniskirt) , skort (/wiki/Skort) or shorts (along with top), as well as minidress (/wiki/Dress) (which is a single clothing combining miniskirt and top). See also [ edit ] Athleisure (/wiki/Athleisure) Athletic shoes (/wiki/Athletic_shoe) Bikini as sportwear (/wiki/Bikini_in_popular_culture#Sports) Compression garment (/wiki/Compression_garment) Exercise dress (/wiki/Exercise_dress) Fitness culture (/wiki/Fitness_culture) Layered clothing (/wiki/Layered_clothing) Leotard (/wiki/Leotard) Performance fabrics (/wiki/Performance_fabrics) Swimsuit (/wiki/Swimsuit) Tracksuit (/wiki/Tracksuit) References [ edit ] ^ (#cite_ref-1) "What are the best fabrics that'll cool you down in hot weather? Experts weigh in" (https://www.today.com/shop/best-fabrics-hot-weather-t285517) . TODAY.com . 9 August 2023 . Retrieved 12 January 2024 . ^ (#cite_ref-2) "What are the best fabrics that'll cool you down in hot weather? Experts weigh in" (https://www.today.com/shop/best-fabrics-hot-weather-t285517) . TODAY.com . 9 August 2023 . Retrieved 12 January 2024 . ^ Jump up to: a b c "Protective wear during sport – sports injury prevention" (http://www.nsmi.org.uk/articles/injury-prevention/protective-wear.html) . Sports Medicine Information . Retrieved 17 March 2016 . ^ Jump up to: a b "Helmets: How they work and what standards do" (http://www.helmets.org/general.htm) . Helmets.org . Retrieved 17 March 2016 . ^ (#cite_ref-5) Carey, Benedict (31 March 2016). "Study Focuses on Repeated Hits, Not Concussions" (https://www.nytimes.com/2016/04/01/health/study-focuses-on-repeated-hits-not-concussions.html) . The New York Times . ISSN (/wiki/ISSN_(identifier)) 0362-4331 (https://www.worldcat.org/issn/0362-4331) . Retrieved 12 April 2016 . ^ (#cite_ref-6) "Protective Eyewear for Young Athletes - 2013" (https://www.aao.org/education/clinical-statement/protective-eyewear-young-athletes) . American Academy of Ophthalmology (/wiki/American_Academy_of_Ophthalmology) . 22 April 2013 . Retrieved 12 April 2023 . ^ (#cite_ref-7) "About Sports Eye Injury and Protective Eyewear" (https://web.archive.org/web/20160424101645/https://nei.nih.gov/sports) . National Eye Institute . Archived from the original (https://nei.nih.gov/sports) on 24 April 2016 . Retrieved 17 March 2016 . ^ Jump up to: a b "Mouthguards" (https://web.archive.org/web/20160313031342/http://www.ada.org/en/member-center/oral-health-topics/mouthguards) . American Dental Association . Archived from the original (http://www.ada.org/en/member-center/oral-health-topics/mouthguards) on 13 March 2016 . Retrieved 17 March 2016 . ^ Jump up to: a b Berry, G (28 December 2011). "A guide to insulated winter jackets that are not made with down" (http://www.onegreenplanet.org/lifestyle/a-guide-to-insulated-winter-jackets-that-are-not-made-with-down/) . One Green Planet . Retrieved 17 March 2016 . ^ Jump up to: a b Porter, J (2016). "How to choose the best ski jacket" (https://www.outdoorgearlab.com/Ski-Jacket-Reviews/Buying-Advice) . GearLab . Retrieved 31 March 2016 . ^ (#cite_ref-11) "Activewear Market Expected to Surpass $546,802 Million by 2024, at a CAGR 6.5%" (https://www.marketwatch.com/press-release/activewear-market-expected-to-surpass-546802-million-by-2024-at-a-cagr-65-2019-08-01) . MarketWatch . Retrieved 1 April 2020 . [ permanent dead link ] ^ (#cite_ref-crainsnewyork1_12-0) Pasquarelli, Adrianne (10 July 2011). "Activewear makes it onto the runway" (http://www.crainsnewyork.com/article/20110710/SUB/307109990) . Crain's New York Business . Retrieved 26 October 2013 . External links [ edit ] Media related to Sports clothing (https://commons.wikimedia.org/wiki/Category:Sports_clothing) at Wikimedia Commons v t e Clothing (/wiki/Clothing) History (/wiki/History_of_clothing_and_textiles) Industry (/wiki/Clothing_industry) Technology (/wiki/Clothing_technology) Terminology (/wiki/Clothing_terminology) Timeline (/wiki/Timeline_of_clothing_and_textiles_technology) Headwear (/wiki/Headgear) Beret (/wiki/Beret) Cap (/wiki/Cap) baseball (/wiki/Baseball_cap) flat (/wiki/Flat_cap) knit (/wiki/Knit_cap) Hat (/wiki/Hat) boater (/wiki/Boater) bowler (/wiki/Bowler_hat) fedora (/wiki/Fedora) homburg (/wiki/Homburg_hat) top (/wiki/Top_hat) Helmet (/wiki/Helmet) Hood (/wiki/Hood_(headgear)) Kerchief (/wiki/Kerchief) Mask (/wiki/Mask) Turban (/wiki/Turban) Veil (/wiki/Veil) Neckwear (/wiki/Neckwear) Bands (/wiki/Bands_(neckwear)) Choker (/wiki/Choker) Clerical collar (/wiki/Clerical_collar) Lavallière (/wiki/Pussy_bow) Neckerchief (/wiki/Neckerchief) Neck gaiter (/wiki/Neck_gaiter) Necktie (/wiki/Necktie) ascot (/wiki/Ascot_tie) bolo (/wiki/Bolo_tie) bow (/wiki/Bow_tie) kipper (/wiki/Kipper_tie) school (/wiki/School_tie) stock (/wiki/Stock_tie) Scarf (/wiki/Scarf) Tippet (/wiki/Tippet) Tops (/wiki/Top_(clothing)) Blouse (/wiki/Blouse) cache-cœur (/wiki/Cache-c%C5%93ur) crop top (/wiki/Crop_top) halterneck (/wiki/Halterneck) tube top (/wiki/Tube_top) Cycling (/wiki/Cycling_jersey) Kurta (/wiki/Kurta) Mantle (/wiki/Mantle_(clothing)) Shirt (/wiki/Shirt) dress (/wiki/Dress_shirt) Henley (/wiki/Henley_shirt) polo (/wiki/Polo_shirt) sleeveless (/wiki/Sleeveless_shirt) T (/wiki/T-shirt) Sweater (/wiki/Sweater) cardigan (/wiki/Cardigan_(sweater)) guernsey (/wiki/Guernsey_(clothing)) hoodie (/wiki/Hoodie) jersey (/wiki/Jersey_(clothing)) polo neck (/wiki/Polo_neck) shrug (/wiki/Shrug_(clothing)) sweater vest (/wiki/Sweater_vest) twinset (/wiki/Twinset) Waistcoat (/wiki/Waistcoat) Trousers (/wiki/Trousers) Bell-bottoms (/wiki/Bell-bottoms) Bondage 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( June 2021 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Clothes for sale at a Zara (/wiki/Zara_(retailer)) store in Hong Kong (/wiki/Hong_Kong) Part of a series (/wiki/Category:Clothing_and_the_environment) on Clothing and the environment Environmental impact of fashion (/wiki/Environmental_impact_of_fashion) Key issues Cotton industry (/wiki/Cotton_industry) Ecological footprint (/wiki/Ecological_footprint) Fast fashion Fur trade (/wiki/Fur_trade) Global trade of secondhand clothing (/wiki/Global_trade_of_secondhand_clothing) Impact investing (/wiki/Impact_investing) Microplastics (/wiki/Microplastics) Textile performance (/wiki/Textile_performance) By type Cashmere (/wiki/Cashmere_wool#Criticism_of_industry) Fur farming (/wiki/Environmental_impacts_of_fur_farming) Leather (/wiki/Environmental_impact_of_leather) Sustainability Anti-fashion (/wiki/Anti-fashion) Biodegradable athletic footwear (/wiki/Biodegradable_athletic_footwear) Circular fashion (/wiki/Circular_fashion) Clothing swap (/wiki/Clothing_swap) Cotton recycling (/wiki/Cotton_recycling) Environmental design (/wiki/Environmental_design) Environmental impact design (/wiki/Environmental_impact_design) Green textile (/wiki/Green_textile) Public interest design (/wiki/Public_interest_design) Organic cotton (/wiki/Organic_cotton) Reconstructed clothing (/wiki/Reconstructed_clothing) Slow fashion (/wiki/Slow_fashion) Socially responsible investing (/wiki/Socially_responsible_investing) Sustainable (/wiki/Sustainability) Advertising (/wiki/Sustainable_advertising) Design (/wiki/Sustainable_design) Fashion (/wiki/Sustainable_fashion) Industries (/wiki/Sustainable_industries) Market (/wiki/Sustainable_market) Procurement (/wiki/Sustainable_procurement) Transport (/wiki/Sustainable_transport) Textile recycling (/wiki/Textile_recycling) Sustainability of vintage fashion (/wiki/Environmental_sustainability_of_vintage_fashion) Trashion (/wiki/Trashion) Zero-waste fashion (/wiki/Zero-waste_fashion) Related Business ethics (/wiki/Business_ethics) Green marketing (/wiki/Green_marketing) RiverBlue (/wiki/RiverBlue) The True Cost (/wiki/The_True_Cost) Environmental record of Nike (/wiki/Nike,_Inc.#Environmental_record) Ecological design (/wiki/Ecological_design) Laundry wastewater (/wiki/Laundry_wastewater) Vintage clothing (/wiki/Vintage_clothing) Fashion portal (/wiki/Portal:Fashion) Environment portal (/wiki/Portal:Environment) v t e Fast fashion is the business model (/wiki/Business_model) of replicating recent catwalk (/wiki/Catwalk) trends and high-fashion (/wiki/High_fashion) designs, mass-producing (/wiki/Mass_production) them at a low cost, and bringing them to retail quickly while demand is at its highest. The term fast fashion is also used generically to describe the products of this business model, particularly clothing (/wiki/Clothing) and footwear (/wiki/Footwear) . Retailers who employ the fast fashion strategy include Primark (/wiki/Primark) , H&M (/wiki/H%26M) , Shein (/wiki/Shein) , and Zara (/wiki/Zara_(retailer)) , [1] (#cite_note-Monroe2021-1) all of which have become large multinationals by driving high turnover of inexpensive seasonal and trendy clothing that appeals to fashion (/wiki/Fashion) -conscious consumers. Fast fashion grew during the late 20th century as manufacturing of clothing (/wiki/Clothing_industry) became less expensive—the result of more efficient supply chains (/wiki/Supply_chains) , new quick response manufacturing (/wiki/Quick_response_manufacturing) methods, and greater reliance on low-cost labor from the apparel manufacturing industries of South (/wiki/South_Asia) , Southeast (/wiki/Southeast_Asia) , and East Asia (/wiki/East_Asia) , where women make up 85-90% of the garment workforce (/wiki/Garment_worker) . Labor practices in fast fashion are often exploitative, and due to the gender concentration of the garment industry, women are more vulnerable. [2] (#cite_note-2) Fast fashion's environmental impact (/wiki/Environmental_impact_of_fashion) has also been the subject of controversy. The global fashion industry is responsible for 8–10% of global carbon emissions (/wiki/Carbon_emissions) per year, to which fast fashion is a large contributor. The low cost of production, favoring synthetic materials (/wiki/Synthetic_fiber) , chemicals, and minimal pollution (/wiki/Pollution) abatement measures have led to excess waste (/wiki/Waste) . [3] (#cite_note-Niinimäki_Peters_Dahlbo_et_al_2020-3) Origins [ edit ] Before the 19th century, fashion was a laborious, time-consuming process that required sourcing materials like wool (/wiki/Wool) , cotton (/wiki/Cotton) , or leather (/wiki/Leather) , treating and preparing the materials by hand, then weaving or fashioning them into functional garments, also by hand. However, the Industrial Revolution (/wiki/Industrial_Revolution) changed the world of fashion by introducing new technology like the sewing machine (/wiki/Sewing_machine) and textile machines (/wiki/Textile_manufacturing) . [4] (#cite_note-4) As a result, clothes became cheaper and easier to make and buy. Meanwhile, localized dressmaking (/wiki/Dressmaking) businesses emerged, catering to members of the middle class (/wiki/Middle_class) , and employing workroom employees along with garment workers (/wiki/List_of_textile_and_clothing_trade_unions) , [5] (#cite_note-5) who worked from home for meager wages. These dress shops were early prototypes (/wiki/Prototype) of the so-called ‘ sweatshops (/wiki/Sweatshop) ’ that would become the foundation for twenty-first-century clothing production. [6] (#cite_note-6) The former "Big Biba" building, circa 2006 The Cosmopolitan journalist Lauren Bravo sees fast fashion stretching back to utility clothing (/wiki/Utility_clothing) and tailors who sold mass-produced affordable suits (/wiki/Suit) for men. In the 1960s companies like Inditex (/wiki/Inditex) and Chelsea Girl (/wiki/River_Island) attained commercial acumen, but the brand Biba (/wiki/Biba) endured as a fast fashion icon. [7] (#cite_note-7) Before the popularization of the fast fashion model, the fashion industry traditionally operated on a four-season cycle, with designers working months in advance to anticipate customer preferences. However, this approach underwent a significant transformation in the 1960s and 1970s, as the younger generations began to create new trends. During this period there was still a clear distinction between luxury goods (/wiki/Luxury_goods) and high street (/wiki/High_Street) fashion. In the 21st century mass consumption of clothing has been on the rise. In 2014, the average person purchased 60 percent more articles of clothing and kept said clothing for half as long compared to the year 2000. [8] (#cite_note-8) [ better source needed ] Fast fashion retailers such as Zara (/wiki/Zara_(retailer)) , [9] (#cite_note-9) H&M (/wiki/H%26M) , Topshop (/wiki/Topshop) , and, Primark (/wiki/Primark) emerged as prominent brands in the high street fashion scene. Initially starting as small stores located across Europe, they were able to quickly gain prominence in the U.S. fashion market by replicating design elements from runway shows and top fashion houses and quickly reproducing them at a fraction of the cost. [10] (#cite_note-:4-10) The origins of the "fast fashion" phenomenon involve several key players, rather than a single brand or company. One influential figure in this movement was Amancio Ortega (/wiki/Amancio_Ortega) , the founder of Zara (/wiki/Zara_(retailer)) . Established in 1963 in Galicia, Spain (/wiki/Galicia_(Spain)) , Zara gained prominence by offering affordable imitations of high-end fashion trends alongside its original designs. In 1975, Ortega opened the first European retail outlet for his collections, pioneering his short-term production and distribution model. By the early 1990s, he had expanded to New York, and the New York Times (/wiki/The_New_York_Times) coined the term fast fashion to describe Zara's business model, highlighting its ability to bring a designer's idea to store shelves in as soon as 15 days. [10] (#cite_note-:4-10) In their 2008 article "Fast Fashion Lessons," [11] (#cite_note-11) Donald Sull and Stefano Turconi studied how Zara revolutionized the fast fashion industry. They attributed the company's success to its strategic supply chain and production network where Zara maintained complicated and capital-intensive operations (like computer-guided fabric cutting) in-house, and outsourced more labor-intensive operations, such as garment sewing, to a network of local subcontractors and seamstress operatives based in Galicia. [12] (#cite_note-auto-12) Thus, with shorter lead times (/wiki/Lead_time) , the company was able to respond rapidly to fluctuating demand by swiftly halting production of low-demand items and creating a sense of urgency for consumers to purchase in-demand clothing due to the ever-changing layout and stock of its stores. [12] (#cite_note-auto-12) Items in the store may not be in stock during subsequent visits, prompting consumers to make immediate purchases if they wish to remain on-trend. The clothing is then only worn a few times before it is no longer in style, creating the need to constantly return to the store and buy new, on-trend items cheaply. [13] (#cite_note-13) Unlike many fashion companies, Zara rarely invests in television adverts or press promotional campaigns. Instead, it relies on store windows to convey the brand image, word of mouth (/wiki/Word_of_mouth) , and establish store locations strategically in areas with high consumer traffic. [14] (#cite_note-14) The origin story of H&M shares common threads with Zara. Technically, it is the world's longest-running retailer. In 1946, Erling Persson (/wiki/Erling_Persson) , a Swedish entrepreneur, traveled to New York City, where he was greatly intrigued and impressed by the high-volume fashion production he witnessed. The following year, Persson established a womenswear (/wiki/Fashion) store called Hennes & Mauritz (or H&M (/wiki/H%26M) ) in Västerås (/wiki/V%C3%A4ster%C3%A5s) , Sweden. Between 1960 and 1979, the company rapidly expanded, with 42 stores across Europe, and began producing clothing for women, men, and children. [15] (#cite_note-auto1-15) The foundation for expansion into the global market was laid in the 1980s when H&M acquired Rowells, a Swedish mail order (/wiki/Mail_order) company, and used its networks to sell fast fashion by catalog and mail order. In the 1990s, H&M invested in large city billboard advertising, featuring celebrities and supermodels. H&M opened its flagship USA store on Fifth Avenue (/wiki/Fifth_Avenue) in New York City in 2000, marking the commencement of its expansion outside of Europe. [15] (#cite_note-auto1-15) Concept [ edit ] A H&M store in Downtown Montreal (/wiki/Montreal) Fast fashion brands produce pieces to get the newest style on the market as soon as possible. [16] (#cite_note-Schlossberg2019-16) They emphasize optimizing certain aspects of the supply chain (/wiki/Supply_chain) for the trends to be designed and manufactured quickly and inexpensively and allow the mainstream consumer (/wiki/Consumer) to buy current clothing styles at a lower price. This philosophy of quick manufacturing at an affordable price is used in large retailers such as SHEIN (/wiki/Shein) , H&M (/wiki/H%26M) , [17] (#cite_note-:7-17) Zara (/wiki/Zara_(retailer)) , [18] (#cite_note-ALO_1-18) C&A (/wiki/C%26A) , Peacocks (/wiki/Peacocks_(clothing)) , Primark (/wiki/Primark) , ASOS (/wiki/ASOS_(retailer)) , [19] (#cite_note-19) Forever 21 (/wiki/Forever_21) , and Uniqlo (/wiki/Uniqlo) . [20] (#cite_note-gq.com-20) [17] (#cite_note-:7-17) These retailers produce and sell products in small batches, keep surplus manufacturing capacity on hand, and frequently induce items to be out of stock, [21] (#cite_note-doi.org-21) a practice designed to give retailers the ability to make substantial and immediate adjustments to manufacturing. For example, up to 85% of Zara's merchandise can be changed in the middle of the season: [21] (#cite_note-doi.org-21) A fast fashion system like Zara's can quickly update designs, resulting in short product cycles where a garment does not sit on the stores' shelf for long periods, giving the store a sense of exclusivity and raising the attractiveness of an item. [21] (#cite_note-doi.org-21) Fast fashion particularly came to the fore during the vogue for " boho chic (/wiki/Boho-chic) " in the mid-2000s. [22] (#cite_note-STS_1-22) According to the UK Environmental Audit Committee's report "Fixing Fashion", the practice "involves increased numbers of new fashion collections every year, quick turnarounds (/wiki/Turnaround_time) and often lower prices. Reacting rapidly to offer new products to meet consumer demand is crucial to this business model." [23] (#cite_note-23) Fast fashion has developed from a product-driven concept based on a manufacturing model referred to as " quick response (/wiki/Quick_response_manufacturing) " developed in the U.S. in the 1980s [24] (#cite_note-24) and moved to a market-based model of "fast fashion" in the late 1990s and the early 21st century. The Zara brand name has become almost synonymous with the term, but other retailers worked with the concept before the label was applied, such as Benetton (/wiki/Benetton_Group) . [25] (#cite_note-25) [26] (#cite_note-26) Fast fashion has also become associated with disposable fashion because it has delivered designer products to a mass market at relatively low prices. [27] (#cite_note-27) The advancement of technology has allowed fast fashion to gain popularity over the last decade. Technology has allowed designers to create specifically what their consumers want according to what is "in" at the given moment. Every month, new things are trending and are displayed in stores to market towards youth. Technology has the power to change all the issues within the fast fashion industry. Brands such as Zara have been listening to their consumers and "thinking green" to improve their environmental impact. As Nina Davis [ who? ] stated in 2020, "[Companies] are also adopting advanced technologies to improve supply chain efficiency and reduce their carbon footprint (/wiki/Carbon_footprint) ." [28] (#cite_note-Davies_2020-28) Slow fashion counter [ edit ] The slow fashion (/wiki/Slow_fashion) or conscious fashion movement has risen in opposition to fast fashion, taking issue with responsibility for pollution (/wiki/Environmental_impact_of_fashion) (both in the production of clothes and in the decay of synthetic fabrics), poor workmanship, and emphasis on very brief trends over classic style. [29] (#cite_note-29) Elizabeth L. Cline's 2012 book Overdressed: The Shockingly High Cost of Cheap Fashion was one of the first investigations into the human and environmental toll of fast fashion. The practice has also come under criticism for contributing to poor working conditions (/wiki/Outline_of_working_time_and_conditions) in developing countries (/wiki/Developing_country) . [30] (#cite_note-30) The 2013 Dhaka garment factory collapse (/wiki/Rana_Plaza_collapse) in Bangladesh (/wiki/Bangladesh) , the deadliest garment-related accident in world history, brought more attention to the safety impact of the fast fashion industry. [31] (#cite_note-31) In the rise of slow fashion, emphasis has been given to quality clothing that is more enduring. In the 2020 spring-summer fashion season, high-end designers led the movement of slow fashion by creating pieces that developed from environmentally friendly practices in the industry. [32] (#cite_note-:5-32) Stella McCartney (/wiki/Stella_McCartney) is a luxury designer who focuses on sustainable and ethical practices and has done so since the 1990s. [33] (#cite_note-33) British Vogue (/wiki/British_Vogue) explained that the process of designing and creating clothing in slow fashion involves consciousness of materials, consumer demand, and climate impact. [32] (#cite_note-:5-32) In her 2016 article titled "Doing Good and Looking Good: Women in 'Fast Fashion' Activism", Rimi Khan criticized the slow fashion movement, particularly the work of high-profile designers and slow fashion advocates McCartney and Vivienne Westwood (/wiki/Vivienne_Westwood) , as well as other well known industry professionals such as Livia Firth (/w/index.php?title=Livia_Firth&action=edit&redlink=1) , for creating fashion products which cater to a mostly western (/wiki/Western_world) , wealthy, and female demographic. [34] (#cite_note-:52-34) Khan also pointed out that because most slow fashion products are significantly more expensive than fast fashion items, consumers are required to have a certain amount of disposable income (/wiki/Disposable_and_discretionary_income) in order to participate in the movement. [34] (#cite_note-:52-34) Khan argues that by proposing a solution to fast-fashion that is largely inaccessible to many consumers, they are positioning wealthier women as "agents of change" in the movement against fast fashion, whereas the shopping habits of lower income women are often considered "problematic". [34] (#cite_note-:52-34) Andrea Chang provided a similar critique of the slow fashion movement in her article "The Impact of Fast Fashion on Women". She wrote that the slow and ethical fashion movements place too much responsibility on the consumers of fast fashion clothing, most of whom are women, to influence the industry through their consumption. [35] (#cite_note-:42-35) Chang suggests that because most consumers are limited in their ability to choose where and how they purchase clothing, largely due to financial factors, anti-fast fashion activists should target lawmakers (/wiki/Legislator) , manufacturers (/wiki/Manufacturing) , and investors (/wiki/Investor) with a stake in the fast fashion industry rather than create an alternative industry that is only accessible to some. [35] (#cite_note-:42-35) Economics [ edit ] Fast fashion proves successful economically for the retail industry worldwide. The fast-fashion market in 2020 globally produced $25.1 billion. [36] (#cite_note-:03-36) It was expected to increase at an annual compound growth rate ( CAGR (/wiki/Compound_annual_growth_rate) ) of 21.9%, resulting in the global market increase to $31 billion in 2021. [36] (#cite_note-:03-36) By 2030, it is estimated that the fast fashion industry will bring a revenue of $192 billion to the world's global economy. [37] (#cite_note-BTN_1-37) This economic growth from fast fashion is demonstrated through how companies like H&M (/wiki/H%26M) or Shein (/wiki/Shein) strategize in manufacturing. Most fast fashion clothes exporters are from developing countries across Asia, such as India (/wiki/India) , Bangladesh, Vietnam (/wiki/Vietnam) , China (/wiki/China) , Indonesia (/wiki/Indonesia) , and Cambodia (/wiki/Cambodia) . Developing countries' economies rely on fast fashion consumption as most export earnings profit from ready-made clothes. China, for example, has gained a yearly profit of $158.4 billion from exporting such clothes. Additionally, the hazardous working circumstances these employees endure have an adverse effect on their health, as the employees have to regularly work with hazardous chemicals when manufacturing clothes. Toxic Chemicals, such as lead, phthalates, and per- and poly-fluoroalkyl substances (PFAS) are commonly used to preserve and increase the durability of clothes, however, too much contact with these chemicals puts employees and consumers at risk of getting deadly diseases. [38] (#cite_note-38) Alongside the risk of illness employees are more likely to suffer from accidents among their coworkers and having a negative effect on the labor force around the world. [3] (#cite_note-Niinimäki_Peters_Dahlbo_et_al_2020-3) Manufacturing [ edit ] The fast fashion industry can thrive economically through the low production costs of its manufacturers in Asia. One low production cost is the investment cost of materials to make a garment (/wiki/Clothing) . Fast fashion invests in polyester (/wiki/Polyester) and cotton (/wiki/Cotton) fabric because they are inexpensive and durable. In 2020 polyester's global price per metric ton was $725 (or 32.9 cents per pound), and the global price for cotton (/wiki/Cotton) in 2021 was 126 cents per pound. [39] (#cite_note-39) [40] (#cite_note-40) According to these statistics, polyester fabric is more affordable than cotton, but both are relativity cheaper than higher quality fabric such as silk (/wiki/Silk) or wool (/wiki/Wool) . One basic T-shirt would require .5 pounds (/wiki/Pound_(mass)) of cotton material, resulting in less than $1 of cotton fabric used. [41] (#cite_note-41) Wage criticisms [ edit ] The fast fashion industry faces criticism for hiring garments (/wiki/Textile_industry) workers from developing countries for their low wages. There are more than 60 million workers that produce garments (/wiki/Clothing) for fast fashion retail, and 80 percent of those workers are women. [42] (#cite_note-:13-42) MVO Netherlands researched in 2019 that workers' monthly wages in Ethiopia (/wiki/Ethiopia) that manufacture for H&M (/wiki/H%26M) , Gap (/wiki/Gap_Inc.) , and JCPenney (/wiki/JCPenney) begins at $32 (equivalent to US$105 at U.S. prices), while an experienced worker is $122 a month (or US$400 at U.S. prices). [42] (#cite_note-:13-42) The lowest hourly wage for workers in developing countries is less than US$0.50 . [ clarification needed ] In developed countries like the United States, the average garment worker in Los Angeles, reported by the Garment Worker Center (GWC), is about $5.15 per hour despite the federal minimum wage being $7.25 per hour in 2016. [43] (#cite_note-43) Hence, workers' monthly income would be about $858 if they worked 40 hours a week. This is a much higher salary than in developing countries but still lower than the U.S. standard of living (/wiki/Standard_of_living_in_the_United_States) in income conditions. To reach the target goals of consumer demands from the U.S. and Europe, garment laborers in developing countries, on average, are expected to work 11 hours a day. [42] (#cite_note-:13-42) Strategy [ edit ] Management [ edit ] Fashion is updated frequently to meet peoples demand for the availability of the newest and latest clothing styles. The efficiency is achieved through the retailers' understanding of the target market (/wiki/Target_market) 's wants, which is a high fashion-looking garment at a price at the lower end of the clothing sector (/wiki/Clothing_industry) . One of the largest causes of the high demand is the short trend cycles: The more an audience is exposed to new trends, the higher the demand grows. Primarily, the concept of category management (/wiki/Category_management) has been used to align the retail buyer and the manufacturer in a more collaborative relationship. [44] (#cite_note-autogenerated2006-44) Quick response method [ edit ] Quick Response (QR) (/wiki/Quick_response_manufacturing) was developed to improve manufacturing processes in the textile industry to remove time from the production system. [45] (#cite_note-45) The U.S. Apparel Manufacturing Association initiated the project in the early 1980s to address a competitive threat to its textile manufactures from imported textiles in countries with low labor costs. [46] (#cite_note-46) During the project, lead times in the manufacturing process were halved; the U.S. industry became more competitive for a time, and imports were lowered as a result. [47] (#cite_note-47) The QR initiative was viewed by many as a protection mechanism for the American textile industry with the aim of improving manufacturing efficiencies. [48] (#cite_note-48) Quick response is now used to support fast fashion, creating new products while drawing consumers back to the retail experience for consecutive visits. [49] (#cite_note-autogenerated3-49) Quick response also makes it possible for new technologies to increase production and efficiency, typified by the introduction of the complementary concept of Fast Fit (/wiki/Fast_Fit) . [49] (#cite_note-autogenerated3-49) The Spanish mega chain Zara (/wiki/Zara_(retailer)) , owned by Inditex (/wiki/Inditex) , has become the global model for how to decrease the time between design and production. This production shortcut enables the company to manufacture over 30,000 units of product every year to nearly 1,600 stores in 58 countries. [50] (#cite_note-autogenerated4-50) New items are delivered twice a week to the stores, reducing the time between initial sale and replenishment. As a result, the shortened time period improves consumer's garment choices and product availability while significantly increasing the number of per customer visits per annum. In the case of Renner (/w/index.php?title=Renner_(company)&action=edit&redlink=1) , a Brazilian chain, a new mini-collection is released every two months. [50] (#cite_note-autogenerated4-50) Delivery and waste [ edit ] Fast fashion typically offers buyers quick shipping, meaning delivery can be same-day or only take a few days. [51] (#cite_note-51) Due to constantly evolving trends, buyers need to have their item before it is no longer in style. [52] (#cite_note-52) Oftentimes, fast fashion brands will offer the buyer deals, where they can spend a certain amount of money to get free shipping (/wiki/Free_shipping) . [53] (#cite_note-53) This creates a lot of impulse buying (/wiki/Impulse_purchase) , resulting in the items being returned. However, fast fashion returns do not always get sold again. The company will likely throw the item out because it is no longer in style. [54] (#cite_note-54) The concerns are not simply related to solid waste any longer either. Fast fashion packaging is accountable for 40% of plastic waste (/wiki/Plastic_waste) according to a 2022 Organization for Economic Co-operation and Development report. [55] (#cite_note-55) While a recent survey found that nearly 10% of the microplastics (/wiki/Microplastics) found in the ocean occur from textile waste and discarded fashion clothing which may raise a bit of a concern going forward. [56] (#cite_note-56) Marketing [ edit ] Marketing (/wiki/Marketing) is a key driver of fast fashion, creating the desire for consumption of new designs as close as possible to the point of creation. Marketing closes the gap between creation and consumption by promoting something fast, low-priced, and disposable. [57] (#cite_note-57) The continuous release of new products essentially makes the garments a highly cost-effective marketing tool that drives consumer visits, increases brand awareness, and results in higher rates of consumer purchases. Fast fashion companies have higher profit margins due to their lower % markdown percentage of 15% compared to competitors' 30% plus. The fast fashion business model reduces time cycles from production to consumption, stimulating sales through trends that change throughout the seasons. For example, the traditional fashion seasons followed the annual cycle of summer, autumn, winter and spring, but in fast fashion cycles have compressed into shorter periods of 4–6 weeks and in some cases less. Marketers have thus created more buying seasons in the same time-space. [58] (#cite_note-58) Companies use two marketing strategies, since the main difference is the amount of advertisement spending. While some companies invest in advertising, others like Primark (/wiki/Primark) operate with no advertising, investing in store layout and visual merchandising (/wiki/Visual_merchandising) to create the instant hook. [59] (#cite_note-59) Research shows that 75 percent of consumers' decisions are made in front of a fixture within three seconds. [44] (#cite_note-autogenerated2006-44) Social media marketing [ edit ] Further information: Social media in the fashion industry (/wiki/Social_media_in_the_fashion_industry) In recent years, fast fashion retailers have taken a new approach to reaching consumers. Initially, social media's sole purpose was to act as a platform allowing people to connect with other users worldwide. However, social media has become a way for retailers to promote their products and impact consumer behavior (/wiki/Consumer_behaviour) . [60] (#cite_note-:04-60) [ predatory publisher ] Now, consumers are able to look at products and businesses on social media before heading to a store or going online to make a purchase. Additionally, consumers can read real customer reviews on different social media accounts to get a better idea of the quality of the products as well as the customer service. [60] (#cite_note-:04-60) Fast fashion retailers were quick to jump on the trend. Fast fashion retailers like Boohoo.com (/wiki/Boohoo.com) realized that social media advertisements could be a great way to reach their target audience (/wiki/Target_audience) , young girls. [1] (#cite_note-Monroe2021-1) Such users were swarmed with fast fashion advertisements each time they opened Instagram (/wiki/Instagram) . Companies like Boohoo hoped that the constant exposure to their products would influence users to not only visit their website, but also to buy clothing from them. [1] (#cite_note-Monroe2021-1) Instead of posting pre-made ads on their accounts, fast fashion retailers realized that an effective way to advertise could be to use social media influencers (/wiki/Fashion_influencer) . [1] (#cite_note-Monroe2021-1) Social media influencers can be defined as "regular" individuals who have accrued a large number of followers across multiple social media platforms as a result of the content they post. [61] (#cite_note-:26-61) For the most part, influencers focus their content on one subject area, like food or fashion [61] (#cite_note-:26-61) and have become their own kind of " internet celebrities (/wiki/Internet_celebrity) " whom followers value and whose opinions they trust. As a result, when social media influencers post content wearing an outfit from Shein (/wiki/Shein) , their followers may feel compelled to purchase clothing from that retailer too. Studies have shown that there is a correlation between following social media influencers and shopping more frequently. [1] (#cite_note-Monroe2021-1) Even though some fast fashion retailers still have "celebrity ambassadors" (/wiki/Celebrity_branding) , many retailers have turned to social media influencers to promote their clothing. [1] (#cite_note-Monroe2021-1) The world saw a surge in these social media marketing practices during the coronavirus (/wiki/Coronavirus) pandemic. [62] (#cite_note-:34-62) Shein (/wiki/Shein) quickly took center stage across numerous social media platforms. Social media users, specifically young women, could not go online without seeing something from this fast fashion website, and "Shein hauls" became one of the most popular trends on TikTok (/wiki/TikTok) , with 4.7 billion views as of March 2022. [ citation needed ] Haul videos (/wiki/Haul_video) consist of individuals recording themselves showing items they purchased (typically a large quantity) and posting the video on platforms like YouTube (/wiki/YouTube) or TikTok. [62] (#cite_note-:34-62) Amid a global pandemic, these billions of views allowed Shein to bring in about $10 billion in revenue that year. [62] (#cite_note-:34-62) Production [ edit ] "Supermarket" market [ edit ] The consumer in the fast fashion market thrives on constant change and the frequent availability of new products. [49] (#cite_note-autogenerated3-49) Fast fashion is considered to be a " supermarket (/wiki/Supermarket) " segment within the larger sense of the fashion market. [44] (#cite_note-autogenerated2006-44) This term refers to fast fashion's nature to "race to make apparel an even smarter and quicker cash generator". [49] (#cite_note-autogenerated3-49) Three crucial differentiating model factors exist within fast fashion consumption: market timing (/wiki/Market_analysis#market_trends) , cost, and the buying cycle. [44] (#cite_note-autogenerated2006-44) Timing's objective is to create the shortest production time possible. The quick turnover has increased the demand for the number of seasons presented in the stores. This demand also increases shipping and restocking time periods. Cost is still the consumer's primary buying decision (/wiki/Buyer_decision_process) . Costs are largely reduced by taking advantage of lower prices in markets in developing countries. In 2004, developing countries accounted for nearly 75 percent of all clothing exports and the removal of several import quotas (/wiki/Import_quota) has allowed companies to take advantage of the even lower cost of resources. [49] (#cite_note-autogenerated3-49) The buying cycle is the final factor that affects the consumer. Traditionally, fashion buying cycles are based around long-term forecasts that occur one year to six months before the season. [49] (#cite_note-autogenerated3-49) Supply chain, vendor relationships and internal relationships [ edit ] Supply chain [ edit ] Supply chains (/wiki/Supply_chain) are central to the creation of fast fashion, and supply chain systems are designed to add value and reduce cost in the process of moving goods from design concept to retail stores and through to consumption. [63] (#cite_note-63) The selection of a merchandising vendor is a key part in the process. Inefficiency primarily occurs when suppliers cannot respond quickly enough, and clothing ends up bottlenecked and in back stock. [50] (#cite_note-autogenerated4-50) Two kinds of supply chains exist, agile (/wiki/Business_agility) and lean (/wiki/Lean_manufacturing) . In an agile supply chain, the principal characteristics include sharing information and technology. [49] (#cite_note-autogenerated3-49) The collaboration results in the reduction in the amount of stock in megastores (/wiki/Big-box_store) . A lean supply chain is characterized as the correct appropriation of the commodity (/wiki/Commodity) for the product. [49] (#cite_note-autogenerated3-49) Vendor relationships [ edit ] The companies in the fast fashion market also utilize a range of relationships with the suppliers. The product is first classified as "core" or "fashion". [49] (#cite_note-autogenerated3-49) Internal relationships [ edit ] Productive internal relationships within the fast fashion companies are as important as the company's relationships with external suppliers, especially regarding the company's buyers. Traditionally with a "supermarket" market the buying is divided into multi-functional departments. The buying team uses the bottom-up approach when trend information is involved, meaning the information is only shared with the company's fifteen top suppliers. [49] (#cite_note-autogenerated3-49) On the other hand, information about future aims, and strategies of production are shared downward within the buyer hierarchy (/wiki/Hierarchy) so the team can consider lower cost production options. [49] (#cite_note-autogenerated3-49) Environmental impact [ edit ] See also: Environmental impact of fashion (/wiki/Environmental_impact_of_fashion) and Zero-waste fashion (/wiki/Zero-waste_fashion) People on the road protesting saying fast fashion destroys the climate According to the United Nations Economic Commission for Europe, [64] (#cite_note-64) the fast fashion system provides opportunities for economic growth, but the entire industry hinders sustainability efforts by contributing to 20% of wastewater (/wiki/Wastewater) . In addition, fast fashion is responsible for nearly 10 percent of global gas emissions. Providing insight, the Ellen MacArthur Foundation (/wiki/Ellen_MacArthur) released study results on fashion and suggests a new circular system. A singular t-shirt requires over 2,000 liters of water to make. [65] (#cite_note-65) Clothing is not utilized to its full potential, the Ellen MacArthur Foundation explains that linear systems are contributing to unsustainable behavior and the future of fashion may need to transition towards a circular system of production and consumer behavior (/wiki/Consumer_behaviour) . [ citation needed ] Journalist Elizabeth L. Cline, author of Overdressed: The Shockingly High Cost of Cheap Fashion and one of the earliest critics of fast fashion, notes in her Atlantic (/wiki/The_Atlantic) article "Where Does Discarded Clothing Go?" [66] (#cite_note-:2-66) that Americans are purchasing five times the amount of clothing than they did in 1980. Due to this rise in consumption, developed countries are producing more and more garments each season with the U.S. importing more than 1 billion garments annually from China alone. [67] (#cite_note-67) United Kingdom textile consumption surged by 37% from 2001 to 2005. [68] (#cite_note-68) The Global Fashion Business Journal reported that in 2018, the global fiber production has reached the highest all-time, 107 million metric tons. [69] (#cite_note-69) The average American household produces 70 pounds (32 kg) of textile waste (/wiki/Environmental_impact_of_fashion) every year. [70] (#cite_note-:1-70) The residents of New York City (/wiki/New_York_City) discard around 193,000 tons of clothing and textiles, which equates to 6% of all the city's garbage. [66] (#cite_note-:2-66) In comparison, the European Union (/wiki/European_Union) generates a total of 5.8 million tons of textiles each year. [71] (#cite_note-71) As a whole, the textile industry occupies roughly 5% of all landfill space. [70] (#cite_note-:1-70) This means that the clothing industry produces about 92 million tons of textile waste annually, much of which is burned or goes into a landfill and less than 1% of used clothing is recycled into new garments. [72] (#cite_note-72) The clothing that is discarded into landfills is often made from non-biodegradable synthetic materials. [73] (#cite_note-73) Greenhouse gases (/wiki/Greenhouse_gas) and various pesticides (/wiki/Pesticide) and dyes (/wiki/Dye) are released into the environment by fashion-related operations. [74] (#cite_note-74) The United Nations (/wiki/United_Nations) estimated that the business of what we wear, including its long supply chains, is responsible for 10 percent of the greenhouse gas emissions (/wiki/Greenhouse_gas_emissions) heating our planet. [75] (#cite_note-75) The growing demand for quick fashion continuously adds effluent release from the textile factories, containing both dyes and caustic solutions. [76] (#cite_note-76) In comparison, greenhouse gas emissions from textile production companies is more than international flights and maritime shipping combined annually. The materials used not only affect the environment in textile products, but also the workers and the people who wear the clothes. The hazardous substances affect all aspects of life and release into the environments around them. [77] (#cite_note-77) Optoro (/wiki/Optoro) estimates that 5 billion pounds of waste is generated through returns each year, contributing 15 million metric tons of carbon dioxide (/wiki/Carbon_dioxide) to the atmosphere. [78] (#cite_note-78) Fast fashion production has doubled since 2000, with brands such as Zara producing 24 collections a year and H&M producing about 12 to 16 collections a year. [79] (#cite_note-79) Sustainability [ edit ] Further information: Sustainable fashion (/wiki/Sustainable_fashion) This article has multiple issues. Please help improve it (/wiki/Special:EditPage/Fast_fashion) or discuss these issues on the talk page (/wiki/Talk:Fast_fashion) . ( Learn how and when to remove these template messages (/wiki/Help:Maintenance_template_removal) ) This section contains content that is written like an advertisement (/wiki/Wikipedia:What_Wikipedia_is_not#Wikipedia_is_not_a_soapbox_or_means_of_promotion) . Please help improve it (https://en.wikipedia.org/w/index.php?title=Fast_fashion&action=edit) by removing promotional content (/wiki/Wikipedia:Spam) and inappropriate external links (/wiki/Wikipedia:External_links#Advertising_and_conflicts_of_interest) , and by adding encyclopedic content written from a neutral point of view (/wiki/Wikipedia:Neutral_point_of_view) . ( June 2021 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Some of this section's listed sources (/wiki/Wikipedia:Citing_sources) may not be reliable (/wiki/Wikipedia:Reliable_sources) . Please help improve this article by looking for better, more reliable sources. Unreliable citations may be challenged and removed. ( June 2021 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Recycling [ edit ] Further information: Textile recycling (/wiki/Textile_recycling) The speed of clothing consumption has increased substantially since the late 1990s across the world. [80] (#cite_note-:05-80) All aspects of fast fashion have elements that are not environmentally friendly, the amounts of waste from disposal of textiles into the garbage system is increasing beyond the industries capabilities. [80] (#cite_note-:05-80) The fast fashion industry currently has little to do with the end of life cycle of clothing, however, with recent social pressures some fast fashion companies collect and export their disposed textiles to developing countries for charity. [81] (#cite_note-:23-81) As the production increases and charities are beginning to turn away fast fashion for being cheaply made, organizations are struggling to come up with sustainable solutions to continue against the social and soon governmental pressure. [81] (#cite_note-:23-81) There are many organizations that provide educational tools on how to reuse and recycle textiles to interested individuals, such as "Human Bridge (charitable organization)". [80] (#cite_note-:05-80) Additionally, the retail and textile chains that encourage recycling or reuse often provide incentives, such as Lindex (/wiki/Lindex) , which offered a rebate to customers who turned in their clothes. [80] (#cite_note-:05-80) There are the organizations that work to recycle the material into new usable materials for a wide variety of industry needs. Working with the Swedish Red Cross (/wiki/Swedish_Red_Cross) , the Swedish Prison and Probation Service (/wiki/Swedish_Prison_and_Probation_Service) is able to provide textile packing material to the shipping industry; additionally, more and more recycling programs like StenaRecycling are beginning to find new ways to use textiles to reach a large audience, being able to create construction materials, stuffing, and new and improved textiles. [80] (#cite_note-:05-80) Polyester and cotton dominate the textile industry with the synthetic fiber polyester exceeding production of cotton since 2002. [82] (#cite_note-:14-82) Fast fashion has caused a spike in textile waste, with no stop in production, waste management (/wiki/Waste_management) is needed. After clothing is reused until it is beyond usable for its given function, recycling it through a mechanical or chemical process is the next step. [82] (#cite_note-:14-82) One concern with recycling textiles is the loss of "virgin material"; however, chemical recycling can extract the "virgin materials" like protein-based and cellulosic fibers to produce new products. [82] (#cite_note-:14-82) The deterioration of material to provide new products is the process of mechanical recycling. [82] (#cite_note-:14-82) There are categories or types of recycling that can be done: upcycling (/wiki/Upcycling) , downcycling (/wiki/Downcycling) , closed-loop (/wiki/Closed-loop_recycling) , and open-loop recycling. Upcycling is the process of using a textile to create something higher quality than the original. [82] (#cite_note-:14-82) Downcycling is using a textile in a way that is less than the original value. [82] (#cite_note-:14-82) Closed-loop recycling is the reuse of one textile over and over again to create the same piece. [82] (#cite_note-:14-82) Open-loop recycling is the process of creating something new with the textile piece. [82] (#cite_note-:14-82) The EU is currently taking initiative to enforce circularity, closed-loop recycling, in the clothing cycle encouraging a less wasteful lifestyle by supporting second-hand and organic clothing pieces, organic in this case being cotton, silk, etc. [83] (#cite_note-:33-83) Even the US in New York City has begun working with natural fibers like bamboo and hemp to make not just clothing but bags as well. [84] (#cite_note-84) There are many technologies that assist in the recycling of textile products: Anaerobic digestion of textile waste – decomposition of organic cotton textile to collect methane and other biogas (/wiki/Biogas) [82] (#cite_note-:14-82) Fermentation of textile waste for ethanol production – cotton fabric provides enhancement of bioethanol production [82] (#cite_note-:14-82) Composting of textile waste – cotton waste provides an excellent source of nutrients in compost [82] (#cite_note-:14-82) Fiber regeneration from textile waste – recovery of glucose and polyester is possible and allows for reuse of material [82] (#cite_note-:14-82) Building/construction material from textile waste – use of textiles in building materials and construction [82] (#cite_note-:14-82) Thermal recovery – incineration of remaining textiles to collect usable energy [82] (#cite_note-:14-82) Design strategies and techniques [ edit ] According to FutureLearn, [85] (#cite_note-85) [ better source needed ] the following design strategies and techniques can be applied to make fast fashion more sustainable: Zero-waste pattern (/wiki/Zero-waste_fashion) cutting: This technique eliminates potential textile waste right at the design stage, where the pattern pieces are strategically laid like a jigsaw puzzle onto a precisely measured piece of fabric. Minimal seam construction: This technique allows faster manufacturing time by lessening the number of seams that are necessary to stitch a garment. Design for disassembly (DfD): The main intention of this strategy involves designing a product in such a way that it can be easily taken apart at the end of its lifespan and this allows the use of fewer materials. Craft preservation: This technique combines and incorporates ancestral craft techniques into modern designs and in a way it ensures preservation of traditional craftsmanship through innovation. Pull factor framework: Brands such as L.L.Bean (/wiki/L.L.Bean) and Harvey Nichols (/wiki/Harvey_Nichols) have implemented a pull factor framework, which is a new methodology that strives to make sustainable innovation more enticing for consumers and producers alike. [86] (#cite_note-86) [ better source needed ] Technology [ edit ] Fast fashion brands like ASOS (/wiki/ASOS_(retailer)) , Levi's (/wiki/Levi_Strauss_%26_Co.) , Macy's (/wiki/Macy%27s) , and North Face (/wiki/The_North_Face) have turned to sizing technology that use algorithms (/wiki/Algorithm) to solve sizing issues, and give accurate size recommendations on their website to reduce environmental impact on returns. H&M's design team is implementing 3D design, 3D sampling and 3D prototyping (/wiki/Digital_prototyping) to help cut waste, while artificial intelligence (/wiki/Artificial_intelligence) can be used to produce small garment runs for specific stores. [87] (#cite_note-87) Companies are helping support the circular system in fashion production and consumer behavior by renting out clothes to customers with recycled or reuse items. New York & Company (/wiki/New_York_%26_Company) Closet and American Eagle Style Drop (/wiki/American_Eagle_Outfitters) are examples of rental services that can be offered to customers when subscribed to the program. [88] (#cite_note-:6-88) Tulerie, a smartphone application offers borrowing, renting, or sharing of clothes in local communities across the globe; users have the opportunity to profit by renting clothes as well. [88] (#cite_note-:6-88) Overconsumption [ edit ] Discarded clothes in London, 2019 In contrast to modern overconsumption, fast fashion traces its roots to World War II austerity, where high design was merged with utilitarian materials. [89] (#cite_note-89) The business model of fast fashion is based on consumers’ desire for new clothing to wear. [90] (#cite_note-:0-90) In order to fulfill consumers' demand, fast fashion brands provide affordable prices and a wide range of clothing that reflects the latest trends. This ends up persuading consumers to buy more items which leads to the issue of overconsumption (/wiki/Overconsumption_(economics)) . Dana Thomas, author of Fashionopolis , stated that Americans spent 340 billion dollars on clothing in 2012, the year before the Rana Plaza collapse. [16] (#cite_note-Schlossberg2019-16) Planned obsolescence (/wiki/Planned_obsolescence) plays a key role in overconsumption. Based on the study of planned obsolescence in The Economist (/wiki/The_Economist) , fashion is deeply committed to planned obsolescence. Last year's skirts, for example, are designed to be replaced by this year's new models. [91] (#cite_note-91) In this case, fashion goods are purchased even when the old ones are still wearable. The quick response model (/wiki/Quick_response_manufacturing) and new supply chain practices of fast fashion even accelerate the speed of it. In recent years, the fashion cycle has steadily decreased as fast fashion retailers sell clothing that is expected to be disposed of after being worn only a few times. [92] (#cite_note-92) A 2014 article about fast fashion in Huffington Post pointed out that in order to make the fast moving trend affordable, fast-fashion merchandise is typically priced much lower than the competition, operating on a business model of low quality and high volume. [90] (#cite_note-:0-90) Low-quality goods make overconsumption more severe since those products have a shorter life span and would need to be replaced much more often. Furthermore, as both industry and consumers continue to embrace fast fashion, the volume of goods to be disposed of or recycled has increased substantially. However, most fast-fashion goods do not have the inherent quality to be considered as collectables for vintage (/wiki/Vintage_clothing) or historic collections. [93] (#cite_note-93) Labour concerns [ edit ] Sweatshops [ edit ] Main article: Sweatshop (/wiki/Sweatshop) The fashion industry is known as the most labor dependent industry, [94] (#cite_note-94) as one in every six people works in acquiring raw materials and manufacturing clothing. There is an increasing concern for sweatshops as more fast fashion stores are lowering their prices and trends are fluctuating more frequently. Brands and store companies that use sweatshops are GAP (/wiki/Gap_Inc.) , H&M (/wiki/H%26M) , Zara (/wiki/Zara_(retailer)) , Abercrombie and Fitch (/wiki/Abercrombie_%26_Fitch) and plenty of others. [ citation needed ] In particular, H&M has faced controversial issues and backlash regarding their sweatshops in Asian countries. H&M (/wiki/H%26M) is the largest producer of clothing in under-developed South Asian (/wiki/South_Asia) and Southeast Asian (/wiki/Southeast_Asia) countries such as India (/wiki/India) , Bangladesh (/wiki/Bangladesh) and Cambodia (/wiki/Cambodia) . [95] (#cite_note-WA_1-95) 500 employees in Indonesia left their work and protested for higher pay as their pay was below the country's minimum wage. Once a strike evolved, the factory removed their access to the building and paid men to harass the workers. [ citation needed ] Nike (/wiki/Nike,_Inc.) has received backlash over its use of sweatshops (/wiki/Nike_sweatshops) . Bangladesh – a country known for its cheap labor, is home to four million garment production workers in over 5000 factories, of which 85% are women. [96] (#cite_note-FOB_1-96) Many of these factories do not have proper working conditions for essential workers. In 2013 a group of garment workers protested in Bangladesh over the poor quality of the factory building. In 2013 in Dhaka District, Bangladesh, the Rana Plaza factory building collapsed (/wiki/Rana_Plaza_collapse) and killed over 1,000 workers. In addition to a structurally unsound building, the employees were overworked. Bangladesh has the lowest minimum wage of all countries exporting apparel. [97] (#cite_note-97) Women and export processing zones [ edit ] July 2011, women and men working The International Labour Organization defines export processing zones (/wiki/Free-trade_zone) as "industrial zones with special incentives set up to attract foreign investors, in which imported materials undergo some degree of processing before being re-exported". [98] (#cite_note-:02-98) These zones have been used by developing countries to bolster foreign investment, and produce consumer goods that are labour-intensive, like clothing. [99] (#cite_note-:12-99) Many export processing zones have been criticized for their substandard working conditions, low wages, and suspension of international and domestic labour laws. [100] (#cite_note-:22-100) Women account for 70–90% of the working population in some export processing zones, such as in Sri Lanka, Bangladesh, and the Philippines. [100] (#cite_note-:22-100) [101] (#cite_note-101) Despite their overrepresentation in export processing zone informal sector ( informal economy (/wiki/Informal_economy) ) employment, women are still likely to earn less than men. [100] (#cite_note-:22-100) Mainly, this discrepancy is due to employers preferring to hire men in technical and managerial positions and women in lower-skilled production work. [100] (#cite_note-:22-100) Moreover, employers tend to prefer hiring women for production jobs because they are seen as more compliant and less likely to join labour unions. [98] (#cite_note-:02-98) In addition, a report that interviewed Sri Lankan women working in export processing zones found that gender-based violence "emerged as a dominant theme in their narratives". [102] (#cite_note-:32-102) For example, 38% of women reported seeing or experiencing sexual harassment within their workplace. [102] (#cite_note-:32-102) However, proponents of textile and garment production as a means for economic upgrading in developing countries ( global value chain (/wiki/Global_value_chain) ) have pointed out that clothing production work tends to have higher wages than other available jobs, such as agriculture or domestic service work, and therefore provides women with a larger degree of financial autonomy. [99] (#cite_note-:12-99) Design legislation and lawsuits [ edit ] United States [ edit ] H.R. 5055 [ edit ] Design Piracy Prohibition Act would protect fashion designers from having their ideas imitated immediately after their public release, such as runway appearances. H.R. 5055, or Design Piracy Prohibition Act (/wiki/Design_Piracy_Prohibition_Act) , was a bill proposed to protect the copyright of fashion designers in the United States. [103] (#cite_note-aipla2006-103) The bill was introduced into the United States House of Representatives (/wiki/United_States_House_of_Representatives) on March 30, 2006. Under the bill designers would submit fashion sketches or photos to the U.S. Copyright Office (/wiki/United_States_Copyright_Office) within three months of the products' "publication". This publication includes everything from magazine advertisements to the garment's first public runway appearances. [104] (#cite_note-104) The bill would protect the designs for three years after the initial publication. If infringement of copyright occurred the infringer would be fined $250,000, or $5 per copy, whichever is a larger lump sum (/wiki/Lump_sum) . [103] (#cite_note-aipla2006-103) H.R. 2033 [ edit ] The Design Piracy Prohibition Act was reintroduced as H.R. 2033 during the first session of the 110th Congress on April 25, 2007. [105] (#cite_note-aipla2007-105) It had goals similar to H.R. 5055, as the bill proposed to protect certain types of apparel design through copyright protection of fashion design. The bill would grant fashion designs a three-year term of protection, based on registration with the U.S. Copyright Office. The fines of copyright infringement would continue to be $250,000 total or $5 per copied merchandise. [105] (#cite_note-aipla2007-105) Lawsuits [ edit ] As of 2007, Forever 21 (/wiki/Forever_21) , one of the larger fast fashion retailers, was involved in several lawsuits over alleged violations of intellectual property (/wiki/Intellectual_property) rights. [106] (#cite_note-autogenerated1-106) The lawsuits contended that certain pieces of merchandise at the retailer can effectively be considered infringements of designs from Diane von Fürstenberg (/wiki/Diane_von_F%C3%BCrstenberg) , Anna Sui (/wiki/Anna_Sui) and Gwen Stefani's Harajuku Lovers (/wiki/Gwen_Stefani) line as well as many other well-known designers. [106] (#cite_note-autogenerated1-106) Forever 21 has not commented on the state of the litigation but initially said it was "taking steps to organize itself to prevent intellectual property violations". [106] (#cite_note-autogenerated1-106) See also [ edit ] Impact of fast fashion in China (/wiki/Fast_fashion_in_China) The True Cost (/wiki/The_True_Cost) Cost per wear (/wiki/Cost_per_action) Slow fashion (/wiki/Slow_fashion) Digital fashion (/wiki/Digital_fashion) References [ edit ] ^ Jump up to: a b c d e f Monroe, Rachel (/wiki/Rachel_Monroe) (6 February 2021). "Ultra-fast Fashion Is Eating the World" (https://www.theatlantic.com/magazine/archive/2021/03/ultra-fast-fashion-is-eating-the-world/617794/) . The Atlantic . Archived (https://web.archive.org/web/20230803020218/https://www.theatlantic.com/magazine/archive/2021/03/ultra-fast-fashion-is-eating-the-world/617794/) from the original on 3 August 2023 . Retrieved 26 January 2022 . ^ (#cite_ref-2) "Gender Based Violence in Garment Supply Chains" (https://archive.today/20240413154451/https://globallaborjustice.org/gap/) . Global Labor Justice. 24 March 2020. Archived from the original (https://globallaborjustice.org/gap/) on 13 April 2024 . Retrieved 13 April 2024 . ^ Jump up to: a b Niinimäki, Kirsi; Peters, Greg; Dahlbo, Helena; Perry, Patsy; Rissanen, Timo; Gwilt, Alison (7 April 2020). "The environmental price of fast fashion" (https://aaltodoc.aalto.fi/handle/123456789/112926) . Nature Reviews Earth & Environment . 1 (4): 189–200. Bibcode (/wiki/Bibcode_(identifier)) : 2020NRvEE...1..189N (https://ui.adsabs.harvard.edu/abs/2020NRvEE...1..189N) . doi (/wiki/Doi_(identifier)) : 10.1038/s43017-020-0039-9 (https://doi.org/10.1038%2Fs43017-020-0039-9) . S2CID (/wiki/S2CID_(identifier)) 215760302 (https://api.semanticscholar.org/CorpusID:215760302) . Archived (https://web.archive.org/web/20221121151459/https://aaltodoc.aalto.fi/handle/123456789/112926) from the original on 21 November 2022 . Retrieved 14 December 2022 . ^ (#cite_ref-4) "Textile Machines Selection Guide" (https://www.globalspec.com/learnmore/manufacturing_process_equipment/manufacturing_equipment_components/textile_machinery#:~:text=Textile%20machines%20are%20used%20in,fiber,%20yarn,%20and%20thread.) . www.globalspec.com . Global Spec Engineering360. Archived (https://web.archive.org/web/20210316033415/https://www.globalspec.com/learnmore/manufacturing_process_equipment/manufacturing_equipment_components/textile_machinery#:~:text=Textile%20machines%20are%20used%20in,fiber,%20yarn,%20and%20thread.) from the original on 2021-03-16 . Retrieved 2020-09-24 . ^ (#cite_ref-5) "Garment Workers" (https://www.wiego.org/garment-workers) . WIEGO. Archived (https://web.archive.org/web/20201001162929/https://www.wiego.org/garment-workers) from the original on 2020-10-01 . Retrieved 2020-09-24 . ^ (#cite_ref-6) "What Is Fast Fashion?" (https://goodonyou.eco/what-is-fast-fashion/) . Good On You. 2018-08-07. 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Retrieved 4 July 2021 . v t e Fast culture (/wiki/Waste) Consumerism (/wiki/Consumerism) Convenience food (/wiki/Convenience_food) Convenience store (/wiki/Convenience_store) Fast fashion Fast food (/wiki/Fast_food) Drive-through (/wiki/Drive-through) Food delivery (/wiki/Food_delivery) Online food ordering (/wiki/Online_food_ordering) Take-out (/wiki/Take-out) Instant gratification (/wiki/Delayed_gratification) Overconsumption (/wiki/Overconsumption) Planned obsolescence (/wiki/Planned_obsolescence) Same-day delivery (/wiki/Same-day_delivery) Throw-away society (/wiki/Throw-away_society) v t e Fashion (/wiki/Fashion) articles Index of fashion articles (/wiki/Index_of_fashion_articles) General Environmental impact of fashion (/wiki/Environmental_impact_of_fashion) Fashion accessory (/wiki/Fashion_accessory) Fashion design (/wiki/Fashion_design) Fashion design copyright (/wiki/Fashion_design_copyright) Fashion matrix (/wiki/Fashion_matrix) Fashion museum (/wiki/Fashion_museum) Fashion 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(/wiki/Punk_fashion) Skate (/wiki/Skate_punk) Rockabilly (/wiki/Rockabilly) By country American fashion (/wiki/Fashion_in_the_United_States) Canadian fashion (/wiki/Canadian_fashion) Chinese fashion (/wiki/Chinese_fashion) Filipino fashion (/wiki/Fashion_in_the_Philippines) French fashion (/wiki/French_fashion) German fashion (/wiki/German_fashion) Indian fashion (/wiki/Fashion_in_India) Iranian fashion (/wiki/Fashion_in_Iran) Israeli fashion (/wiki/Israeli_fashion) Italian fashion (/wiki/Italian_fashion) History (/wiki/History_of_Italian_fashion) Japanese fashion (/wiki/Japanese_street_fashion) Nigerian fashion (/wiki/Fashion_in_Nigeria) Russian fashion (/wiki/Russian_fashion) South Korean fashion (/wiki/Fashion_in_South_Korea) Swedish fashion (/wiki/Swedish_fashion) Thai fashion (/wiki/History_of_Thai_clothing) Vietnamese clothing (/wiki/Vietnamese_clothing) Fashion activism (/wiki/Fashion_activism) Anti-fashion (/wiki/Anti-fashion) Anti-sweatshop movement (/wiki/Anti-sweatshop_movement) Circular fashion (/wiki/Circular_fashion) Sustainable fashion (/wiki/Sustainable_fashion) Slow fashion (/wiki/Slow_fashion) Trashion (/wiki/Trashion) Zero-waste fashion (/wiki/Zero-waste_fashion) See also Ballet and fashion (/wiki/Ballet_and_fashion) Capsule wardrobe (/wiki/Capsule_wardrobe) Chinoiserie in fashion (/wiki/Chinoiserie_in_fashion) Dress code (/wiki/Dress_code) Undress (/wiki/Undress_code) Music and fashion (/wiki/Music_and_fashion) Fashion victim (/wiki/Fashion_victim) Fashion portal (/wiki/Portal:Fashion) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐99x9k Cached time: 20240719200932 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 1.211 seconds Real time usage: 1.427 seconds Preprocessor visited node count: 11028/1000000 Post‐expand include size: 382140/2097152 bytes Template argument size: 37673/2097152 bytes Highest expansion depth: 19/100 Expensive parser function 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Type of clothing associated with Nelson Mandela Nelson Mandela (/wiki/Nelson_Mandela) in 1998, wearing a Madiba shirt A Madiba shirt is a loose-fitting silk (/wiki/Silk) shirt, usually adorned in a bright and colourful print. It became known in the 1990s, when Nelson Mandela (/wiki/Nelson_Mandela) —then elected President of South Africa (/wiki/President_of_South_Africa) —added the item to his regular attire. Mandela popularised this type of shirt, elevating the seemingly casual garment to formal situations. Design [ edit ] A form of casual wear (/wiki/Casual_wear) , Madiba shirts are loose-fitting, usually worn without a necktie (/wiki/Necktie) and untucked from trousers (/wiki/Trousers) . [1] (#cite_note-FOOTNOTEGrantNodoba2009361-1) It is adapted from Indonesian (/wiki/Indonesia) batik (/wiki/Batik) clothing, and generally made of cotton or silk patterned with vivid colours. [2] (#cite_note-FOOTNOTEMaynard200456–57-2) Mandela was said to prefer earthier tones for the shirt, though Madiba shirts with bright colors have endured in popularity. [3] (#cite_note-FOOTNOTESmith2014104-3) History [ edit ] Yusuf Surtee, a clothing-store owner who supplied Mandela with outfits for decades, said the Madiba design is based on Mandela's request for a shirt like Indonesian (/wiki/Indonesia) president Suharto (/wiki/Suharto) 's batik (/wiki/Batik) attire. [4] (#cite_note-FOOTNOTESmith2014103-4) Fashion designer Desré Buirski (/w/index.php?title=Desr%C3%A9_Buirski&action=edit&redlink=1) presented this type of shirt (and her contact information) to Mandela as a gift on 7 May 1994 by getting it to a bodyguard during a visit to a Cape Town synagogue; Mandela wore the shirt to the dress rehearsal for his presidential inauguration. [4] (#cite_note-FOOTNOTESmith2014103-4) [1] (#cite_note-FOOTNOTEGrantNodoba2009361-1) Sonwabile Ndamase said he "was the first to do it" in 1990. [5] (#cite_note-FOOTNOTESmith2014103–104-5) The name "Madiba shirt" comes from Mandela's Xhosa clan name (/wiki/Xhosa_clan_names) . [1] (#cite_note-FOOTNOTEGrantNodoba2009361-1) The affectionate name became linked to the shirts when Mandela wore them to many business and political meetings during 1994–1999 and after his tenure as President of South Africa (/wiki/President_of_South_Africa) . [1] (#cite_note-FOOTNOTEGrantNodoba2009361-1) [6] (#cite_note-FOOTNOTERamoupiMkhabela20114-6) Legacy [ edit ] Within the clothing industry, Mandela's willingness to wear the casual attire—he eventually owned dozens of the shirts—marked a new style of international business dress. In a broader sense, the fashion choice can be read as a signal of "friendly" regime change away from strict formality and toward greater acceptance. [1] (#cite_note-FOOTNOTEGrantNodoba2009361-1) It can also be argued that, throughout his life, Mandela's fashion was a significant part of his public image: in the 1950s, he dressed in sophisticated clothes; during the Rivonia Trial (/wiki/Rivonia_Trial) in 1963–64, he brought out Xhosa traditions with a leopard-skin kaross (/wiki/Kaross) ; and after his release from prison, he wore the colourful Madiba shirt often. [7] (#cite_note-FOOTNOTEPinto_Coelho2015140-7) In 2013, art historian Lize van Robbroeck wrote: Mandela's idiosyncratic shirts (now, of course, avidly marketed) signal his freedom to take or leave Western conventions of power: they are the sartorial embodiment of a vision of global citizenship. While the suit speaks the language of legality, constitutions, and contracts, the Mandela shirt speaks the language of freedom and self-constitution, of a humanism that is not exclusively defined by the West. This semiotics of emancipation is beautifully communicated in the comic book when a young girl points at Mandela and asks, "Excuse me, but why do you wear a shirt like that?" Mandela laughingly replies, "You must remember that I was in jail for 27 years. I want to feel freedom!" [8] (#cite_note-FOOTNOTEvan_Robbroeck2014262-8) Madiba shirts (and variants) are popular among tourists to South Africa (/wiki/South_Africa) , South African sportspeople, and Tanzanian (/wiki/Tanzanian_people) men (possibly as a sign of general African solidarity or reflecting Africa's supposedly more laid-back dress than Europe). [9] (#cite_note-FOOTNOTEMaynard200457-9) See also [ edit ] Batik (/wiki/Batik) Culture of Indonesia (/wiki/Culture_of_Indonesia) Portals (/wiki/Wikipedia:Contents/Portals) : Fashion (/wiki/Portal:Fashion) Indonesia (/wiki/Portal:Indonesia) South Africa (/wiki/Portal:South_Africa) References [ edit ] ^ Jump up to: a b c d e Grant & Nodoba 2009 (#CITEREFGrantNodoba2009) , p. 361. ^ (#cite_ref-FOOTNOTEMaynard200456–57_2-0) Maynard 2004 (#CITEREFMaynard2004) , p. 56–57. ^ (#cite_ref-FOOTNOTESmith2014104_3-0) Smith 2014 (#CITEREFSmith2014) , p. 104. ^ Jump up to: a b Smith 2014 (#CITEREFSmith2014) , p. 103. ^ (#cite_ref-FOOTNOTESmith2014103–104_5-0) Smith 2014 (#CITEREFSmith2014) , p. 103–104. ^ (#cite_ref-FOOTNOTERamoupiMkhabela20114_6-0) Ramoupi & Mkhabela 2011 (#CITEREFRamoupiMkhabela2011) , p. 4. ^ (#cite_ref-FOOTNOTEPinto_Coelho2015140_7-0) Pinto Coelho 2015 (#CITEREFPinto_Coelho2015) , p. 140. ^ (#cite_ref-FOOTNOTEvan_Robbroeck2014262_8-0) van Robbroeck 2014 (#CITEREFvan_Robbroeck2014) , p. 262. ^ (#cite_ref-FOOTNOTEMaynard200457_9-0) Maynard 2004 (#CITEREFMaynard2004) , p. 57. Bibliography [ edit ] Grant, Terri; Nodoba, Gaontebale (August 2009), "Dress Codes in Post-Apartheid South African Workplaces" (https://www.researchgate.net/publication/247761225) , Business Communication Quarterly (/wiki/Business_and_Professional_Communication_Quarterly) , 72 (3): 360–365, doi (/wiki/Doi_(identifier)) : 10.1177/1080569909340683 (https://doi.org/10.1177%2F1080569909340683) , S2CID (/wiki/S2CID_(identifier)) 167453202 (https://api.semanticscholar.org/CorpusID:167453202) Maynard, Margaret (2004), Dress and Globalisation , Manchester University Press (/wiki/Manchester_University_Press) , ISBN (/wiki/ISBN_(identifier)) 9780719063893 Pinto Coelho, Teresa (December 2015), " (http://www2.ucp.pt/resources/Documentos/SCUCP/GaudiumSciendi/Revista_Gaudium_Sciendi_N9/15recens%C3%B5es.pdf) A Vida de Nelson Mandela (2014), tradução de (http://www2.ucp.pt/resources/Documentos/SCUCP/GaudiumSciendi/Revista_Gaudium_Sciendi_N9/15recens%C3%B5es.pdf) Nelson Mandela. A Very Short Introduction (2008) de Elleke Boehmer" (http://www2.ucp.pt/resources/Documentos/SCUCP/GaudiumSciendi/Revista_Gaudium_Sciendi_N9/15recens%C3%B5es.pdf) (PDF) , Gaudium Sciendi : 137–142 Ramoupi, Neo Lekgotla laga ; Mkhabela, Justice (November 2011), "Celebrating Rolihlahla Nelson Mandela: Past, Present and Future" (http://www.ai.org.za/wp-content/uploads/downloads/2011/11/No-61.Celebrating-Rolihlahla-Nelson-Mandela-Past-Present-and-Future.pdf) (PDF) , Policy Brief , no. 61, Africa Institute of South Africa, pp. 1–6 Smith, Daniel (2014), How to Think Like Mandela , Michael O'Mara (/wiki/Michael_O%27Mara_Books) , ISBN (/wiki/ISBN_(identifier)) 9781782432401 van Robbroeck, Lize (2014), "The Visual Mandela: A Pedagogy of Citizenship", The Cambridge Companion to Nelson Mandela , Cambridge University Press (/wiki/Cambridge_University_Press) , pp. 244–266, doi (/wiki/Doi_(identifier)) : 10.1017/CCO9781139003766.015 (https://doi.org/10.1017%2FCCO9781139003766.015) , ISBN (/wiki/ISBN_(identifier)) 9781139003766 v t e Nelson Mandela (/wiki/Nelson_Mandela) 18 July 1918 – 5 December 2013 President of South Africa (/wiki/President_of_South_Africa) (1994–1999) President of the African National Congress (/wiki/History_of_the_African_National_Congress) (1991–1997) Life Early life (/wiki/Nelson_Mandela#Early_life) Mandela and Tambo law firm (/wiki/Mandela_and_Tambo) UMkhonto we Sizwe (/wiki/UMkhonto_we_Sizwe) 1955 Congress of the People (/wiki/Congress_of_the_People_(1955)) Freedom Charter (/wiki/Freedom_Charter) Treason Trial (/wiki/1956_Treason_Trial) Rivonia Trial (/wiki/Rivonia_Trial) Robben Island (/wiki/Robben_Island) Pollsmoor Prison (/wiki/Pollsmoor_Prison) Victor Verster Prison (/wiki/Drakenstein_Correctional_Centre) Negotiations to end apartheid in South Africa (/wiki/Negotiations_to_end_apartheid_in_South_Africa) Liliesleaf Farm (/wiki/Liliesleaf_Farm) Mandela House and museum (/wiki/Mandela_House) Nelson Mandela Children's Fund (/wiki/Nelson_Mandela_Children%27s_Fund) The Elders (/wiki/The_Elders_(organization)) 70th Birthday Tribute (/wiki/Nelson_Mandela_70th_Birthday_Tribute) 90th Birthday Tribute (/wiki/Nelson_Mandela_90th_Birthday_Tribute) Awards and honours (/wiki/List_of_awards_and_honours_received_by_Nelson_Mandela) Death and state funeral (/wiki/Death_and_state_funeral_of_Nelson_Mandela) state memorial service attendees (/wiki/List_of_dignitaries_at_the_memorial_service_of_Nelson_Mandela) funeral attendees (/wiki/List_of_dignitaries_at_the_state_funeral_of_Nelson_Mandela) Presidency (/wiki/Presidency_of_Nelson_Mandela) 1994 election (/wiki/1994_South_African_general_election) Presidency (/wiki/Presidency_of_Nelson_Mandela) Government of National Unity (/wiki/Cabinet_of_Nelson_Mandela) Reconstruction and Development Programme (/wiki/Reconstruction_and_Development_Programme) Truth and Reconciliation Commission (/wiki/Truth_and_Reconciliation_Commission_(South_Africa)) Constitution of South Africa (/wiki/Constitution_of_South_Africa) 1995 Rugby World Cup (/wiki/Rugby_union_and_apartheid#1995_Rugby_World_Cup) Intervention in Lesotho (/wiki/Southern_African_Development_Community_intervention_in_Lesotho) Mahlamba Ndlopfu (/wiki/Mahlamba_Ndlopfu) Books and speeches "I Am Prepared to Die" (1964 speech) (/wiki/I_Am_Prepared_to_Die) Long Walk to Freedom (1994) (/wiki/Long_Walk_to_Freedom) Mandela: The Authorised Biography (1999) (/wiki/Mandela:_The_Authorised_Biography) Conversations With Myself (2010) (/wiki/Conversations_With_Myself_(book)) Dare Not Linger: The Presidential Years (2017) (/wiki/Dare_Not_Linger) Legacy and namesakes Mandela Day (/wiki/Mandela_Day) Nelson Mandela Forum (/wiki/Nelson_Mandela_Forum) Nelson Mandela Institution (/wiki/Nelson_Mandela_Institution) 46664 concerts (/wiki/46664_(concerts)) Mandela Rhodes Scholarship (/wiki/Mandela_Rhodes_Scholarship) Standard Minimum Rules for the Treatment of Prisoners (the Mandela Rules) (/wiki/Standard_Minimum_Rules_for_the_Treatment_of_Prisoners) Nelson Mandela Challenge (/wiki/Nelson_Mandela_Challenge) Nelson Mandela Challenge Plate (/wiki/Mandela_Challenge_Plate) Nelson Mandela Invitational (/wiki/Nelson_Mandela_Invitational) Nelson Mandela International Airport (/wiki/Nelson_Mandela_International_Airport) Nelson Mandela Square (/wiki/Nelson_Mandela_Square) Nelson Mandela Bay Metropolitan Municipality (/wiki/Nelson_Mandela_Bay_Metropolitan_Municipality) Mandela National Stadium (/wiki/Mandela_National_Stadium) Nelson Mandela Bridge (/wiki/Nelson_Mandela_Bridge) Nelson Mandela Children's Hospital (/wiki/Nelson_Mandela_Children%27s_Hospital) Ponts Nelson-Mandela (/wiki/Nelson_Mandela_Bridges) Nelson Mandela University (/wiki/Nelson_Mandela_University) Film depictions Mandela (1987) (/wiki/Mandela_(1987_film)) Death of Apartheid (1995) (/wiki/Death_of_Apartheid) Mandela (1996) (/wiki/Mandela_(1996_film)) Mandela: Son of Africa, Father of a Nation (1996) (/wiki/Palm_World_Voices:_Mandela) Mandela and de Klerk (1997) (/wiki/Mandela_and_de_Klerk) Goodbye Bafana (2007) (/wiki/Goodbye_Bafana) Endgame (2009) (/wiki/Endgame_(2009_film)) Invictus (2009) (/wiki/Invictus_(film)) Winnie Mandela (2011) (/wiki/Winnie_Mandela_(film)) Mandela: Long Walk to Freedom (2013) (/wiki/Mandela:_Long_Walk_to_Freedom) Mandela's Gun (2016) (/wiki/Mandela%27s_Gun) Family Ngubengcuka (/wiki/Ngubengcuka) (great-grandfather) Gadla Henry Mphakanyiswa (/wiki/Nelson_Mandela#Early_life) (father) Nosekeni Fanny (/wiki/Nelson_Mandela#Early_life) (mother) Evelyn Mase (/wiki/Evelyn_Mase) (wife) Winnie Madikizela-Mandela (/wiki/Winnie_Madikizela-Mandela) (wife) Graça Machel (/wiki/Gra%C3%A7a_Machel) (wife) Makgatho Mandela (/wiki/Makgatho_Mandela) (son) Makaziwe Mandela (/wiki/Makaziwe_Mandela) (daughter) Zenani Mandela-Dlamini (/wiki/Zenani_Mandela-Dlamini) (daughter) Zindzi Mandela (/wiki/Zindzi_Mandela) (daughter) Ndileka Mandela (/wiki/Ndileka_Mandela) (granddaughter) Mandla Mandela (/wiki/Mandla_Mandela) (grandson) Zoleka Mandela (/wiki/Zoleka_Mandela) (granddaughter) Ndaba Mandela (/wiki/Ndaba_Mandela) (grandson) Related African National Congress (/wiki/African_National_Congress) history (/wiki/History_of_the_African_National_Congress) International Tribute Concert (/wiki/Nelson_Mandela:_An_International_Tribute_for_a_Free_South_Africa) Madiba shirt "Free Nelson Mandela" (song) (/wiki/Free_Nelson_Mandela) "Mandela Day" (song) (/wiki/Mandela_Day_(song)) "Rise Up" (song) (/wiki/Global_Citizen_%E2%80%93_EP_1) "Bring Him Back Home (Nelson Mandela)" (song) (/wiki/Bring_Him_Back_Home_(Nelson_Mandela)) Nelson Mandela (EP) (/wiki/Nelson_Mandela_(EP)) Atlanta sculpture (/wiki/Free_Nelson_Mandela_(sculpture)) Cape Town City Hall statue (/wiki/Statue_of_Nelson_Mandela,_Cape_Town_City_Hall) Johannesburg statue (/wiki/Statue_of_Nelson_Mandela,_Johannesburg) London statue (/wiki/Statue_of_Nelson_Mandela,_Parliament_Square) Pretoria statue (/wiki/Statue_of_Nelson_Mandela,_Union_Buildings) Washington, D.C. statue (/wiki/Statue_of_Nelson_Mandela_(Washington,_D.C.)) Ismail Ayob (/wiki/Ismail_Ayob) Category (/wiki/Category:Nelson_Mandela) NewPP limit report Parsed by mw‐web.codfw.main‐c795b44dd‐2z5kp Cached time: 20240717180812 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.464 seconds Real time usage: 0.600 seconds Preprocessor visited node count: 1696/1000000 Post‐expand include size: 43622/2097152 bytes Template argument size: 2936/2097152 bytes Highest expansion depth: 12/100 Expensive parser function count: 6/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 31727/5000000 bytes Lua time usage: 0.329/10.000 seconds Lua memory usage: 23507269/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 537.239 1 -total 22.53% 121.053 6 Template:Citation 20.17% 108.383 2 Template:Lang 17.04% 91.545 1 Template:Nelson_Mandela 16.61% 89.209 1 Template:Navbox 10.98% 58.977 14 Template:Sfn 10.49% 56.368 1 Template:Short_description 6.30% 33.828 1 Template:Portal_bar 5.24% 28.164 2 Template:Pagetype 4.70% 25.234 1 Template:Use_South_African_English Saved in parser cache with key enwiki:pcache:idhash:7409026-0!canonical and timestamp 20240717180812 and revision id 1188395143. 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Australian fashion industry event Backstage at the Lee Summers show in Sydney, Spring/Summer 2007 Montana Cox (/wiki/Montana_Cox) showcasing designs by Magdalena Velevska (/w/index.php?title=Magdalena_Velevska&action=edit&redlink=1) at the Australian Fashion Week Spring Summer 2012/2013 in Sydney (/wiki/Sydney) Australian Fashion Week , formerly Mercedes-Benz Fashion Week Australia ( MBFWA ) and as of 2021 [update] (https://en.wikipedia.org/w/index.php?title=Australian_Fashion_Week&action=edit) Afterpay Australian Fashion Week ( AAFW ), is an annual fashion industry event, or fashion week (/wiki/Fashion_week) , showcasing the latest seasonal collections from Australian designers (/wiki/Fashion_design) . Run by American company by IMG (/wiki/IMG_(company)) since 2005 (https://wwd.com/feature/img-buys-australian-fashion-week-558732-1976360/) , the event has been held at the multi-arts center Carriageworks (/wiki/Carriageworks) in Redfern (/wiki/Redfern,_New_South_Wales) . Fashion weeks take place all around the world and often have a big influence on the trends that follow throughout the year. Australia's fashion week is not only limited to fashion trends. Hair and make up trends are also a big part of the event and designers often take the opportunity to make big statements through their designs. [1] (#cite_note-1) History [ edit ] Jennifer Hawkins (/wiki/Jennifer_Hawkins) , Miss Universe 2004 (/wiki/Miss_Universe_2004) at Australian Fashion Week, May 2007 Kate Waterhouse (left), daughter of Gai Waterhouse (/wiki/Gai_Waterhouse) , and Ruby Rose (/wiki/Ruby_Rose) (right) seated at the 2012 show The event was the brainchild of PR consultant and former ski magazine reporter Simon Lock. Launched in 1996, in its debut year the event featured shows by Australian designers including Akira Isogawa (/wiki/Akira_Isogawa) , Alex Perry (/wiki/Alex_Perry) and Wayne Cooper (/wiki/Wayne_Cooper_(fashion_designer)) . The event had mixed success; British fashion writer Susan Owens wrote a scathing review dubbing it "Fashion Weak" and writing that 25 broken-hearted designers had thrown away their money. [2] (#cite_note-Silva-Jelly-2) In 2005, event founder Simon Lock sold the event and its parent company Australian Fashion Innovators to the New York-based International Management Group (/wiki/International_Management_Group) . [3] (#cite_note-3) The deal was rumoured to have been worth several million dollars. [2] (#cite_note-Silva-Jelly-2) Rosemount Estate (/wiki/Rosemount_(wine)) wineries acquired naming rights from Mercedes-Benz in 2006 and the event was renamed Rosemount Australian Fashion Week (RAFW), but the principal sponsorship passed back to Mercedes-Benz (/wiki/Mercedes-Benz) in 2011. [4] (#cite_note-fashionising-4) In 2020, Afterpay took on the naming rights of the inaugural event. Lock worked with IMG for the next five years before departing the company in 2010. [5] (#cite_note-5) In 2011 he was presented with the Australian Fashion Laureate Award (/w/index.php?title=Australian_Fashion_Laureate_Award&action=edit&redlink=1) , the first non-designer to receive it. At the time he was building a ski hotel in Japan and spending more time with his children. [6] (#cite_note-6) The 2021 event was renamed Afterpay Australian Fashion Week, now sponsored by Afterpay (/wiki/Afterpay) . Two new Indigenous Australian (/wiki/Indigenous_Australian) events introduced 13 First Nations designers to the wider industry, including Grace Lillian Lee, Ngarru Miimi, Aarli, Kirrikin Australia, Maara Collective, Liandra Swim and Ngali, and the event started with a Welcome to Country (/wiki/Welcome_to_Country) and smoking ceremony (/wiki/Smoking_ceremony) . [7] (#cite_note-7) Significant models and events [ edit ] In 1997, supermodel Linda Evangelista (/wiki/Linda_Evangelista) 's appearance in the Alex Perry show drew international attention to the event. Eva Herzigova (/wiki/Eva_Herzigova) donned a $500,000 pearl bikini to launch Tigerlily's first runway show in 2001. [8] (#cite_note-8) Jade Jagger (/wiki/Jade_Jagger) modelled for Charlie Brown in 2005. [9] (#cite_note-9) Dita Von Teese (/wiki/Dita_Von_Teese) was a guest of honour in 2007, giving a sexy performance that featured her straddling a giant MAC (/wiki/MAC_Cosmetics) lipstick. Singer Macy Gray (/wiki/Macy_Gray) performed at the Marcs show in 2008, and celebrity fashion blogger (/wiki/Fashion_blogger) Susie Bubble (/wiki/Susie_Bubble) covered the 2010 event. In the early 21st century, 2001 saw some notorious appearances of animals as a runway gimmick. Model Kristy Hinze wore a snakeskin bikini with a live snake draped around her shoulders. It began to wrap itself around her neck, to her evident discomfort. Meanwhile, streetwear label Ksubi (/wiki/Ksubi) (then named Tsubi) released 169 live rats onto the runway, one of which was killed, prompting an RSPCA investigation. [10] (#cite_note-10) In 2013, MBFWA exhibited many of the same Australian designers, while also introducing upcoming designers. These new generation 2013 included Betty Train, Desert Designs, Faddoul, Jamie Ashkar, Natalie & Sarah, The Letter Q, and Tristan Melle. [11] (#cite_note-11) Some of the most praised designers showcased on the runway were White Sands, Christopher Esber, Bec and Bridge, Aurelio Costarella, and Camilla and Marc (/wiki/Camilla_and_Marc) . [12] (#cite_note-12) Cancelled events [ edit ] In 2020, MBFWA events was cancelled due to the COVID-19 pandemic (/wiki/COVID-19_pandemic_in_Australia) and the consequent public gathering and travel restrictions. [13] (#cite_note-13) Venues [ edit ] Australian Fashion Week has previously been held in April/May at the Fox Film Studios, Moore Park (/wiki/Moore_Park,_New_South_Wales) in Sydney, and at St Kilda (/wiki/St_Kilda,_Victoria) pier in Melbourne (/wiki/Melbourne) . [ citation needed ] It was announced in October 2012 that MMBFWA was moving from its Overseas Passenger Terminal location in The Rocks (/wiki/The_Rocks,_New_South_Wales) at Sydney's Circular Quay (/wiki/Circular_Quay) to the multidisciplinary arts centre Carriageworks (/wiki/Carriageworks) in Eveleigh (/wiki/Eveleigh,_New_South_Wales) , and the 2013 event was the first one held there. [14] (#cite_note-14) [15] (#cite_note-15) [16] (#cite_note-venue-16) Governance [ edit ] It is run by IMG (/wiki/IMG_(company)) , in association with sponsors. [17] (#cite_note-about-17) Impact and criticism [ edit ] Many well-known and influential designers as well as new and upcoming designers participate in the fashion festival. Some of the designers include Alice McCall (/wiki/Alice_McCall) , Bec & Bridge, Ginger & Smart, Ksubi, Lisa Ho (/wiki/Lisa_Ho) , Oroton (/wiki/Oroton) , We Are Handsome, and Whitesands. [18] (#cite_note-18) Australian Fashion Week has helped bring global attention to a number of Australian designers such as [Lisa Ho, Alice McCall, Alex Perry (/wiki/Alex_Perry) , Toni Maticevski (/wiki/Toni_Maticevski) , Collette Dinnigan (/wiki/Collette_Dinnigan) , Leona Edmiston (/wiki/Leona_Edmiston) , and J'Aton Couture (/wiki/J%27Aton_Couture) . [ citation needed ] Australian Fashion Week has attracted criticism of being out of sync with the global fashion market; some popular designers pulled out of the 2012 event in order to prepare for international events. [19] (#cite_note-19) In 2015, the event was changed to May to become the global Resort show for fashion buyers and media. [20] (#cite_note-20) The event has been criticised for featuring inexperienced emerging designers rather than big names, that its collections are conspicuously 'influenced' (/wiki/Copyright_infringement) by European designers, and that it resorts to cheap theatrics that have included everything from Afghan hounds to midgets in lederhosen. [21] (#cite_note-21) However, fashion journalist Marion Hume (/wiki/Marion_Hume) argues that the non-participation of established designers is welcome. "It lets those designers grow [by going overseas] and gives space for younger ones to come up", she said. "It's a natural progression and shows a healthiness in Australian Fashion Week". [22] (#cite_note-22) Mercedes-Benz Fashion Festival Sydney [ edit ] Mercedes-Benz Fashion Festival Sydney (/wiki/Mercedes-Benz_Fashion_Festival_Sydney_2014) was a schedule of fashion events showcasing the contemporary Spring Summer Collections of Australia's leading designer brands. [23] (#cite_note-23) The festival was held at the Sydney Town Hall (/wiki/Sydney_Town_Hall) and throughout the city, [24] (#cite_note-24) months after Australian Fashion Week, hosted by IMG and Mercedes-Benz fashion week, connecting it with the same designers and production style. As retailers struggled with declining sales, MBFF was pitched as an event to show consumers how to wear the clothes currently on the retail racks. [25] (#cite_note-25) IMG fashion hosted the whole event, and had control over both Fashion Week and the festival. Although Mercedes-Benz Fashion Festival Sydney was primarily based during Australian Fashion week, they also supported and put together runway shows throughout the year for the designer brands they supported. In May 2013, the festival hosted a fashion-focused seminar featuring Mercedes Benz Fashion Week Australia designers Camilla and Marc (/wiki/Camilla_and_Marc) and KIRRILY JOHNSTON. [26] (#cite_note-26) Mercedes-Benz Fashion Festival Brisbane [ edit ] Mercedes-Benz Fashion Festival Brisbane (/wiki/Mercedes-Benz_Fashion_Festival_Brisbane) is a schedule of fashion events showcasing the contemporary Spring Summer Collections of Australia's leading designer brands. The festival is held at the Brisbane Town Hall (/wiki/Brisbane_City_Hall) and throughout the city in August. References [ edit ] ^ (#cite_ref-1) Sydneypoint.com. "Fashion Week Australia" (https://www.sydneypoint.com.au/events/fashion-week-australia/) . Sydney Point . Retrieved 4 November 2021 . ^ Jump up to: a b Silva-Jelly, Natasha (5 May 2011). "Years of pain to make one week work" (http://www.smh.com.au/lifestyle/fashion/years-of-pain-to-make-one-week-work-20110504-1e8mb.html) . Sydney Morning Herald . Retrieved 1 May 2012 . ^ (#cite_ref-3) "IMG takes over Australian Fashion Week" (http://www.smh.com.au/news/fashion/img-takes-over-australian-fashion-week/2005/10/12/1128796550032.html) . The Sydney Morning Herald (/wiki/The_Sydney_Morning_Herald) . 12 October 2005. Archived (https://web.archive.org/web/20121014053204/https://www.smh.com.au/news/fashion/img-takes-over-australian-fashion-week/2005/10/12/1128796550032.html) from the original on 14 October 2012. ^ (#cite_ref-fashionising_4-0) Dykes, Daniel (26 June 2011). "Mercedes-Benz scores fashion week naming rights" (http://www.fashionising.com/industry/b--Mercedes-Benz-scores-fashion-week-naming-rights-7123.html) . Retrieved 26 June 2011 . ^ (#cite_ref-5) Breen Burns, Janice. "Australian Fashion Week founder Simon Lock calls it a day" (http://www.theage.com.au/lifestyle/fashion/australian-fashion-week-founder-simon-lock-calls-it-a-day-20100211-ntqy.html) . The Age . Melbourne . Retrieved 1 May 2012 . ^ (#cite_ref-6) Silva-Jelly, Natasha (5 May 2011). "Years of pain to make one week work" (http://www.smh.com.au/lifestyle/fashion/years-of-pain-to-make-one-week-work-20110504-1e8mb.html) . The Sydney Morning Herald . ^ (#cite_ref-7) Huntington, Patty (14 June 2021). "Fresh Faces, Indigenous Voices Reenergize Australian Fashion Week" (https://wwd.com/fashion-news/designer-luxury/fresh-faces-indigenous-voices-reenergize-australian-fashion-week-1234838286/) . WWD . Retrieved 18 September 2021 . ^ (#cite_ref-8) "Memorable moments in Australian Fashion Week history" (https://web.archive.org/web/20120428184757/http://www.madisonmag.com.au/fashion/australian-fashion/memorable-moments-at-australian-fashion-week.htm) . Madison . Archived from the original (http://www.madisonmag.com.au/fashion/australian-fashion/memorable-moments-at-australian-fashion-week.htm) on 28 April 2012 . Retrieved 1 May 2012 . ^ (#cite_ref-9) "The top Australian Fashion Week moments" (https://web.archive.org/web/20120516074105/http://www.dailylife.com.au/photogallery/dl-fashion/fashion-coverage/the-top-australian-fashion-week-moments-20120412-1wvfj.html) . Daily Life. Archived from the original (http://www.dailylife.com.au/photogallery/dl-fashion/fashion-coverage/the-top-australian-fashion-week-moments-20120412-1wvfj.html) on 16 May 2012 . Retrieved 1 May 2012 . ^ (#cite_ref-10) "AUSTRALIA: RATS AND PYTHONS APPEAR IN FASHION SHOWS DURING AUSTRALIAN FASHION WEEK" (http://www.itnsource.com/en/shotlist/RTV/2001/05/08/105080031/?s=rspca) . Reuters/Ten Network . 8 May 2001 . Retrieved 1 May 2012 . ^ (#cite_ref-11) "New Generation 2013" (https://web.archive.org/web/20140117171202/http://australia.mbfashionweek.com/designers/new_generation_2013) . Archived from the original (http://australia.mbfashionweek.com/designers/new_generation_2013) on 17 January 2014 . Retrieved 27 June 2013 . ^ (#cite_ref-12) "Fashion Week" (http://www.theage.com.au/photogallery/lifestyle/fashion/australia-fashion-week-2013-20130408-2hgsd.html) . The Age . Melbourne. ^ (#cite_ref-13) Eksouzian-Cavadas, Ana (17 March 2020). "Mercedes-Benz Fashion Week Australia 2020 has been cancelled" (https://www.vogue.com.au/fashion/news/mercedesbenz-fashion-week-australia-2020-has-been-cancelled/news-story/8d2cf7cef5f91aabe8dd2c086053ffb7) . Vogue Australia . Retrieved 15 September 2020 . ^ (#cite_ref-14) "Mercedes Benz Fashion Week Australia 2013 - New venue and new dates!" (http://www.sassybella.com/2012/10/mercedes-benz-fashion-week-australia-2013-new-venue-and-new-dates/) . ^ (#cite_ref-15) "Fashion Week Has A New Home for 2013: Carriageworks, Sydney" (http://www.popsugar.com.au/fashion/2013-Mercedes-Benz-Fashion-Week-Australia-New-Dates-April-8th-12th-Home-Carriageworks-Eveleigh-Confirmed-25491443) . Sydney's Carriageworks in Redfern . Popsugar . Retrieved 15 February 2014 . ^ (#cite_ref-venue_16-0) "Venue" (https://australianfashionweek.com/venue) . Afterpay Australian Fashion Week . Retrieved 18 September 2021 . ^ (#cite_ref-about_17-0) "Afterpay Australian Fashion Week" (https://australianfashionweek.com/aboutus) . Afterpay Australian Fashion Week . Retrieved 18 September 2021 . ^ (#cite_ref-18) "Designers" (https://web.archive.org/web/20130808232946/http://mbffsydney.com.au/designer) . Archived from the original (http://mbffsydney.com.au/designer) on 8 August 2013 . Retrieved 27 June 2013 . ^ (#cite_ref-19) Taguchi, Kumi (1 May 2012). "Costarella supports Fashion Week" (http://www.abc.net.au/news/2012-05-01/clothes-designers-attend-fashion-week/3982316) . ABC News . Retrieved 1 May 2012 . ^ (#cite_ref-20) Gay, Danielle (7 October 2015). "Mercedes-Benz Fashion Week Australia to change dates and show resort" (https://www.vogue.com.au/fashion/news/mercedesbenz-fashion-week-australia-to-change-dates-and-show-resort/news-story/c5712d457b0010e1fc1b4ae586e7b298) . Vogue Australia . Retrieved 15 September 2020 . ^ (#cite_ref-21) Barker, Clare (April 2006). "Mercedes Australian Fashion Week" (https://www.themonthly.com.au/mercedes-australian-fashion-week-clare-barker-206) . The Monthly . Retrieved 1 May 2012 . ^ (#cite_ref-22) Carapiet, Lisa (17 April 2012). "Designers drop out of Fashion Week" (http://afr.com/p/national/designers_drop_out_of_fashion_week_w9Jbz2vHqIXF7uZZotvPeP) . Australian Financial Review . Retrieved 1 May 2012 . ^ (#cite_ref-23) "Event Information" (https://web.archive.org/web/20130810021944/http://mbffsydney.com.au/event-information) . Archived from the original (http://mbffsydney.com.au/event-information) on 10 August 2013 . Retrieved 25 June 2013 . ^ (#cite_ref-24) Mitchell, Lesley. "Fashion Festival Sydney" (https://web.archive.org/web/20140918010424/http://www.weekendnotes.com/sydney-fashion-festival/) . Archived from the original (http://weekendnotes.com/sydney-fashion-festival/) on 18 September 2014 . Retrieved 25 June 2013 . ^ (#cite_ref-25) "Mercedes-Benz Fashion Festival Sydney Wrap" (http://thevine.com.au/fashion/collections/mercedes-benz-fashion-festival-sydney-wrap/) . Retrieved 24 June 2013 . ^ (#cite_ref-26) "MBFF Sydney" (https://www.facebook.com/MBFFSydney) . Facebook (/wiki/Facebook) . External links [ edit ] Wikimedia Commons has media related to Australian Fashion Week (https://commons.wikimedia.org/wiki/Category:Australian_Fashion_Week) . Official website (https://australianfashionweek.com/) v t e Fashion weeks (/wiki/Fashion_week) By location "Big four" New York (/wiki/New_York_Fashion_Week) London (/wiki/London_Fashion_Week) Milan (/wiki/Milan_Fashion_Week) Paris (/wiki/Paris_Fashion_Week) Others Amsterdam (/wiki/Amsterdam_Fashion_Week) Australia Boston (/wiki/Boston_Fashion_Week) Brisbane (/wiki/Mercedes-Benz_Fashion_Festival_Brisbane) Berlin (/wiki/Berlin_Fashion_Week) Colombo (/wiki/Colombo_Fashion_Week) Copenhagen (/wiki/Copenhagen_Fashion_Week) Detroit (/wiki/Detroit_Fashion_Week) India (/wiki/India_Fashion_Week) Jakarta (/wiki/Jakarta_Fashion_Week) Kuala Lumpur (/wiki/Kuala_Lumpur_Fashion_Week) Lagos (/wiki/Lagos_Fashion_Week) Lahore and Karachi (/wiki/PFDC_Sunsilk_Fashion_Week) Los Angeles (/wiki/Los_Angeles_Fashion_Week) Madrid (/wiki/Madrid_Fashion_Week) Malta (/w/index.php?title=Malta_Fashion_Week&action=edit&redlink=1) Mexico City (/wiki/Fashion_Week_Mexico_City) Miami (/wiki/Mercedes-Benz_Fashion_Week_Miami) New Zealand (/wiki/New_Zealand_Fashion_Week) Ottawa (/wiki/Ottawa_Fashion_Week) Port Harcourt, Nigeria (/wiki/Port_Harcourt_International_Fashion_Week) Rio de Janeiro (/wiki/Rio_Fashion_Week) São Paulo (/wiki/S%C3%A3o_Paulo_Fashion_Week) Sibiu, Romania (/wiki/Feeric_Fashion_Week) Singapore (/wiki/Singapore_Fashion_Week) Shanghai (/wiki/Shanghai_Fashion_Week) Shenzhen (/w/index.php?title=Shenzhen_Fashion_Week&action=edit&redlink=1) Tbilisi (/wiki/Tbilisi_Fashion_Week) Toronto (/wiki/Toronto_Fashion_Week) Vancouver (/wiki/Vancouver_Fashion_Week) Yangon, Myanmar (/wiki/Myanmar_International_Fashion_Week) See also List of fashion events (/wiki/List_of_fashion_events) Fashion portal (/wiki/Portal:Fashion) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐jnxzd Cached time: 20240720174606 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.394 seconds Real time usage: 0.525 seconds Preprocessor visited node count: 2228/1000000 Post‐expand include size: 62337/2097152 bytes Template argument size: 3163/2097152 bytes Highest expansion depth: 15/100 Expensive parser function count: 6/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 103683/5000000 bytes Lua time usage: 0.252/10.000 seconds Lua memory usage: 5496222/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 463.898 1 -total 38.31% 177.734 1 Template:Reflist 25.70% 119.204 17 Template:Cite_web 17.54% 81.371 1 Template:Fashion_weeks 17.17% 79.662 1 Template:Navbox 13.05% 60.533 1 Template:Short_description 8.75% 40.577 1 Template:Commons_category 8.36% 38.763 1 Template:Sister_project 8.01% 37.175 1 Template:Side_box 7.76% 36.007 1 Template:Official Saved in parser cache with key enwiki:pcache:idhash:7437129-0!canonical and timestamp 20240720174606 and revision id 1221908353. 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Traditional Southeast Asian cap "Peci" redirects here. For other uses, see Peci (disambiguation) (/wiki/Peci_(disambiguation)) . "Kopiah" redirects here. For the town, see Kopiah, Washington (/wiki/Kopiah,_Washington) . Songkok Sukarno (/wiki/Sukarno) Tunku Abdul Rahman (/wiki/Tunku_Abdul_Rahman) Indonesian leader Sukarno (/wiki/Sukarno) and Malaysian leader Tunku Abdul Rahman (/wiki/Tunku_Abdul_Rahman) wearing a peci/songkok. Type Traditional cap Place of origin Brunei (/wiki/Brunei) , Indonesia (/wiki/Indonesia) , Malaysia (/wiki/Malaysia) , Singapore (/wiki/Singapore) , Philippines (/wiki/Philippines) The songkok or peci or kopiah is a cap (/wiki/Cap) widely worn in Brunei (/wiki/Brunei) , Indonesia (/wiki/Indonesia) , Malaysia (/wiki/Malaysia) , Singapore (/wiki/Singapore) , the southern Philippines (/wiki/Philippines) , and southern Thailand (/wiki/Thailand) , most commonly among Muslim (/wiki/Muslim) males. It has the shape of a truncated cone, usually made of black or embroidered felt (/wiki/Felt) , cotton or velvet (/wiki/Velvet) . It is also worn by males in formal occasions such as weddings and funerals or festive occasions such as the Eid ul-Fitr (/wiki/Eid_ul-Fitr) and Eid al-Adha (/wiki/Eid_al-Adha) holidays. In Indonesia, the peci is also associated with the nationalist movement. [1] (#cite_note-yahoo-1) Names [ edit ] It is called "songkok" in Sumatra (/wiki/Sumatra) and the Malay Peninsula (/wiki/Malay_Peninsula) . [2] (#cite_note-songkok_origin-2) While in Java (/wiki/Java) , it is called "kopiah" or "kopeah". [3] (#cite_note-3) It is also known widely in Indonesia as "peci", although the peci has a more elliptical shape and is sometimes decorated. [2] (#cite_note-songkok_origin-2) Origin [ edit ] Songkok, kopiah or peci has been traditionally worn by Muslim men in Southeast Asia, as shown here during prayer (/wiki/Salah) Kopiah (kupiah) is recorded as being used by Majapahit (/wiki/Majapahit) elite troops ( Bhayangkara ), recorded in the Hikayat Banjar (/wiki/Hikayat_Banjar) , written in or not long after 1663. [4] (#cite_note-4) : 181 [5] (#cite_note-:1-5) : 204 [6] (#cite_note-6) Kopiah is recorded in Pigafetta (/wiki/Antonio_Pigafetta) 's Italian-Malay vocabulary of 1521 (published 1524) as cophia . [7] (#cite_note-7) : 132 [8] (#cite_note-8) : 235 Kupiah is recorded in Hikayat Iskandar Zulkarnain (/wiki/Hikayat_Iskandar_Zulkarnain) , an epic which the original text was written before 1600 AD: [9] (#cite_note-9) : 39 Maka tatkala memeliharakan disuruhnya anaknya memakai perhiasan seperti pakaian laki-laki dan dikenakan kepada kepalanya kupiah ros yang keemasan . (So when he took care of his son, he ordered him to wear jewelry like men's clothes and put on his head a golden rosary kupiah.) One Brunei newspaper account erroneously states that the songkok became a norm in the Southeast Asia Archipelago in the 13th century with the coming of Islam in the region. [2] (#cite_note-songkok_origin-2) The earliest written mention of the word songkok is in Syair Siti Zubaidah (/wiki/Syair_Siti_Zubaidah) (1840). [10] (#cite_note-10) While traditional triangular Malay headress of Tengkolok (/wiki/Tengkolok) or destar is associated with traditional Malay nobles and royalties, songkok on the other hand has become part of traditional Malay (/wiki/Ethnic_Malay) men's costume associated with Islam, traditionally worn by local ulamas (/wiki/Ulama) . The Royal Malay Regiment (/wiki/Royal_Malay_Regiment) of the Malaysian Army (/wiki/Malaysian_Army) have been using the songkok as part of their uniform since under British rule. [11] (#cite_note-11) Current use [ edit ] Indonesian flag raising squad (Paskibra) wearing peci as part of their uniform Traditionally, songkok is usually associated as a cap worn by Muslim men, during religious or formal state occasions. However, in Indonesia (/wiki/Indonesia) , the songkok has become the national headress with secular nationalist connotations made popular by Sukarno (/wiki/Sukarno) . [1] (#cite_note-yahoo-1) Numbers of Indonesian nationalist movement activist in early 20th century wore peci such as Sukarno, Mohammad Hatta (/wiki/Mohammad_Hatta) , and Agus Salim (/wiki/Agus_Salim) . However, as the first president of Indonesia (/wiki/President_of_Indonesia) it was Sukarno that popularised peci — more precisely plain black velvet peci — as national men's cap of Indonesian, [12] (#cite_note-12) and Indonesian male presidents have worn peci as part of their official presidential attire ever since. Indonesian official palace guards also wore peci as part of their uniform. The Paskibraka (/wiki/Paskibraka) (Indonesian: pasukan pengibar bendera pusaka ) or flag raising squad in Indonesian independence day ceremony also wear peci, and there is even female peci version with curved back. The Betawi people (/wiki/Betawi_people) wear the Songkok as their traditional headdress usually colored dark red. Catholic and Protestant Betawi (/wiki/Betawi_people) of Kampung Sawah regularly wear peci as part of traditional attire during church service. [13] (#cite_note-Ramadhian_2022-13) Malay boys wearing songkok as part of their traditional attire in Malaysia In Malaysia, traditional male Malay attire consists of a songkok, shirt, matching pants, and waist wrap that is called a songket (/wiki/Songket) . In a Dewan Undangan Negeri (/wiki/Dewan_Undangan_Negeri) (State Legislative Assemblies) or in Dewan Rakyat (/wiki/Dewan_Rakyat) (Parliament), all members (regardless of race or religion) within the legislative assembly, are required to wear the songkok (with a gold middle stripe) as a formal custom, at every State Customary Opening of Parliament (or respective State Legislative Assemblies), held once annually, in order to comply with the dress code of each legislative assembly opening. [14] (#cite_note-14) [15] (#cite_note-15) This is done to ensure decorum whenever the respective Head of State (Yang di-Pertuan Agong for the Parliament of Malaysia, respective Sultans or Yang diPertua Negeri for each State Legislative Assemblies) is present to open the legislative assembly proceedings for the year. Similarly, all recipients of honorific orders (/wiki/Order_(distinction)) bestowed by either the Yang di-Pertuan Agong (for federal honorific orders) or the Sultan (for each respective state honorific orders), are required to wear the gold-striped songkok along with the official customary attire in Malaysia, to receive their honorific orders in person. In Singapore, the songkok is not allowed to be worn in government schools, as part of the school uniform, as Singapore is officially a secular state and all religious headgear is not allowed to be worn. [ citation needed ] It is part of the standard uniform at madrasahs (/wiki/Madrasah) (Islamic religious schools). In the Philippines (/wiki/Philippines) , the songkok, known as kopiah or kupya , plays a role in the heraldry of the Sultanate of Sulu (/wiki/Sultanate_of_Sulu) , and is part of the traditional wear of Bangsamoro (/wiki/Bangsamoro) men. It is part of the traditional formal clothing of Muslim Filipino (/wiki/Muslim_Filipino) men in general, along with a local Mindanaoan variation of the Baju Melayu (/wiki/Baju_Melayu) and native malong (/wiki/Malong) ( sarung (/wiki/Sarung) ). Some non-Muslim Lumad (/wiki/Lumad) Filipino datu (/wiki/Datu) also wear the kopiah, as a result of being historically influenced by the fashions and customs of Muslim Filipinos. The kopiah is worn by Muslim Filipino men throughout the archipelago as a formal cap for prayers, and for religious and social functions. Kopiah with gold-string embroidery, or cuts of inaul (/w/index.php?title=Inaul&action=edit&redlink=1) or fabric with okir (/wiki/Okir) designs are gaining popularity alongside the conservative black velvet version. A red and white checkered Saudi-style ghutrah (/wiki/Ghutrah) worn draped over a kopiah is a traditional indicator in the Southern Philippines of a hajji (/wiki/Hajji) or male pilgrim who has been to Makkah (/wiki/Makkah) as part of the hajj (/wiki/Hajj) . [ citation needed ] Gallery [ edit ] Indonesian independence activist of early 20th century (1930), including Sukarno (/wiki/Sukarno) , often wear peci, which give Indonesian peci current nationalist nuance. Two Papuan raja wearing kopiah in Kokas, Fakfak (/wiki/Fakfak_Regency) (between 1933 and 1936). Men of the Rejimen Askar Melayu DiRaja (/wiki/Royal_Malay_Regiment) wearing songkok at bayonet practice, Singapore Island (1941). A group of Bruneian (/wiki/Brunei) men wearing songkok as part of Baju Melayu (/wiki/Baju_Melayu) traditional Malay attire Javanese Muslim men wearing kopiah and sarong Indonesian President Joko Widodo (/wiki/Joko_Widodo) and members of parliament (/wiki/People%27s_Consultative_Assembly) wearing peci as part of national formal attire EWP Tambunan (/wiki/Edward_Waldemar_Pahala_Tambunan) , a Christian, was known for his habit of wearing red songkok . Murad Ebrahim (/wiki/Murad_Ebrahim) , Chief Minister (/wiki/Chief_Minister) of the Bangsamoro Region (/wiki/Bangsamoro_Autonomous_Region_in_Muslim_Mindanao) , southern Philippines (/wiki/Philippines) Female version of peci with curved back, worn by Indonesian flag raising girls squad ( Paskibra (/wiki/Paskibraka) ) See also [ edit ] Fashion portal (/wiki/Portal:Fashion) Indonesia portal (/wiki/Portal:Indonesia) Malaysia portal (/wiki/Portal:Malaysia) Singapore portal (/wiki/Portal:Singapore) Philippines portal (/wiki/Portal:Philippines) Thailand portal (/wiki/Portal:Thailand) Dhaka topi (/wiki/Dhaka_topi) Gandhi cap (/wiki/Gandhi_cap) Fez (hat) (/wiki/Fez_(hat)) Tengkolok (/wiki/Tengkolok) Yarmulke (/wiki/Yarmulke) Bhadgaunle Topi (/wiki/Bhadgaunle_Topi) References [ edit ] ^ Jump up to: a b Hendri F. Isnaeni (10 September 2010). "Nasionalisme Peci" (https://id.berita.yahoo.com/nasionalisme-peci-070822568.html) (in Indonesian). Yahoo Indonesia News . Retrieved 10 September 2010 . ^ Jump up to: a b c Rozan Yunos (23 September 2007). "The origin of the songkok or 'kopiah' (https://web.archive.org/web/20081205140605/http://www.bt.com.bn/en/features/2007/09/23/the_origin_of_the_songkok_or_kopiah) " (https://web.archive.org/web/20081205140605/http://www.bt.com.bn/en/features/2007/09/23/the_origin_of_the_songkok_or_kopiah) . The Brunei Times. Archived from the original (http://www.bt.com.bn/features/2007/09/23/the_origin_of_the_songkok_or_kopiah) on 5 December 2008 . Retrieved 13 April 2016 . ^ (#cite_ref-3) Abdullah Mubarok (21 February 2016). "PDIP: Kopiah Bagian Dari identitas Nasional" (https://web.archive.org/web/20160413074741/http://m.inilah.com/news/detail/2275754/pdip-kopiah-bagian-dari-identitas-nasional) (in Indonesian). Inilah.com. Archived from the original (http://m.inilah.com/news/detail/2275754/pdip-kopiah-bagian-dari-identitas-nasional) on 13 April 2016 . Retrieved 13 April 2016 . ^ (#cite_ref-4) Ras, Johannes Jacobus (1968). Hikajat Bandjar: A Study in Malay Historiography . The Hague: Martinus Nijhoff. ^ (#cite_ref-:1_5-0) Nugroho, Irawan Djoko (2011). Majapahit Peradaban Maritim . Suluh Nuswantara Bakti. ISBN (/wiki/ISBN_(identifier)) 978-602-9346-00-8 . ^ (#cite_ref-6) Hikayat Banjar, 6.3: Maka kaluar dangan parhiasannya orang bar baju-rantai (/wiki/Baju_Rantai) ampat puluh sarta padangnya bar kupiah taranggos sakhlat merah, orang mambawa astenggar ampat puluh, orang mambawa parisai sarta padangnya ampat puluh, orang mambawa dadap sarta sodoknya sapuluh, orang mambawa panah sarta anaknya sapuluh, yang mambawa tumbak parampukan barsulam amas ampat puluh, yang mambawa tameng Bali bartulis air mas ampat puluh. (See Ras 1968 (#CITEREFRas1968) , p. 302) Translation: "So came out with their ornaments men with chain mail (/wiki/Chain_mail) numbered forty alongside their swords and red kopiah [skull cap], men carrying astengger [ arquebus (/wiki/Arquebus) ] numbered forty, men carrying shield and swords numbered forty, men carrying dadap [a type of shield] and sodok [broad-bladed spear-like weapon] numbered ten, men carrying bows and arrows numbered ten, (men) who carried parampukan spears embroidered with gold numbered forty, (men) who carried Balinese shields with golden water engraving numbered forty." ^ (#cite_ref-7) Pigafetta, Antonio (1956). "Vocaboli de Questi Popoli Mori" (https://archive.org/details/1956relazionedelprimoviaggiointornoalmondo/page/n125/mode/2up) . In Manfroni, Camillo (ed.). Relazione del primo viaggio intorno al mondo, Antonio Pigafetta, 1524 . Istituto Editoriale Italiano. ISBN (/wiki/ISBN_(identifier)) 9788828100140 . ^ (#cite_ref-8) Bausani, Alessandro (December 1960). "The First Italian-Malay Vocabulary by Antonio Pigafetta" (https://www.jstor.org/stable/29754279) . East and West . 11 (4): 229–248. JSTOR (/wiki/JSTOR_(identifier)) 29754279 (https://www.jstor.org/stable/29754279) – via JSTOR. ^ (#cite_ref-9) Hussain, Khalid Muhammad, ed. (1986). Hikayat Iskandar Zulkarnain (2nd ed.). Kuala Lumpur: Dewan Bahasa. ^ (#cite_ref-10) Syair Siti Zubaidah MCP text (http://mcp.anu.edu.au/N/Zub_bib.html) ^ (#cite_ref-11) Journal of the Society for Army Historical Research . Society for Army Historical Research. 1996. ^ (#cite_ref-12) Yusep Hendarsyah (28 April 2011). "Peci Hitam dan Identitas Paling Indonesia" (https://web.archive.org/web/20120812064751/http://sejarah.kompasiana.com/2011/04/28/peci-hitam-dan-identitas-paling-indonesia) . Kompasiana. Archived from the original (http://sejarah.kompasiana.com/2011/04/28/peci-hitam-dan-identitas-paling-indonesia/) on 12 August 2012 . Retrieved 28 March 2012 . ^ (#cite_ref-Ramadhian_2022_13-0) Ramadhian, Nabilla (27 December 2022). "Cerita di Balik Jemaat Misa Natal Gereja Kampung Sawah yang Pakai Baju Adat Betawi Halaman all" (https://megapolitan.kompas.com/read/2022/12/27/09024141/cerita-di-balik-jemaat-misa-natal-gereja-kampung-sawah-yang-pakai-baju) . KOMPAS.com (in Indonesian) . Retrieved 12 January 2023 . ^ (#cite_ref-14) Hubungan Etnik di Malaysia (in Malay). ITBM. 2011. pp. 127–. ISBN (/wiki/ISBN_(identifier)) 978-983-068-579-3 . ^ (#cite_ref-15) http://www.istiadat.gov.my/wp-content/uploads/2020/12/3.-Pakaian-Rasmi-Istiadat-No.-1-Dress-Bagi-Ahli-Parlimen-dan-Ahli-Dewan-Negara-Siang.pdf (http://www.istiadat.gov.my/wp-content/uploads/2020/12/3.-Pakaian-Rasmi-Istiadat-No.-1-Dress-Bagi-Ahli-Parlimen-dan-Ahli-Dewan-Negara-Siang.pdf) [ bare URL PDF ] External links [ edit ] Wikimedia Commons has media related to Songkok (https://commons.wikimedia.org/wiki/Category:Songkok) . v t e Hats (/wiki/Hat) and caps (/wiki/Cap) List of hat styles (/wiki/List_of_hat_styles) Western (/wiki/Western_culture) culture (/wiki/Western_culture) Formal (/wiki/Formal_wear) Cartwheel (/wiki/Cartwheel_hat) Cloche (/wiki/Cloche_hat) Cocktail (/wiki/Cocktail_hat) Doll (/wiki/Doll_hat) Draped turban (/wiki/Draped_turban) Eugénie (/wiki/Eug%C3%A9nie_hat) Fascinator (/wiki/Fascinator) Half (/wiki/Half_hat) Halo (/wiki/Halo_hat) Juliet (/wiki/Juliet_cap) Mushroom (/wiki/Mushroom_hat) Lampshade 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(/wiki/Vyshyvanka) Ukrainian wreath (/wiki/Ukrainian_wreath) Russia Kokoshnik (/wiki/Kokoshnik) Kosovorotka (/wiki/Kosovorotka) Lapti (/wiki/Bast_shoe) Orenburg shawl (/wiki/Orenburg_shawl) Sarafan (/wiki/Sarafan) Western Netherlands Poffer (/wiki/Poffer) Kraplap (/wiki/Kraplap) Oorijzer (/wiki/Oorijzer) France Breton costume (/wiki/Breton_costume) Spain Traje de flamenca (/wiki/Traje_de_flamenca) Barretina (/wiki/Barretina) Cachirulo (/wiki/Cachirulo) Cordovan hat (/wiki/Cordovan_hat) Sombrero de catite (/wiki/Sombrero_de_catite) Mantilla (/wiki/Mantilla) Italy Ciocia (/wiki/Ciocia) Coppola cap (/wiki/Coppola_cap) Scandinavian Bunad (/wiki/Bunad) Gákti (/wiki/G%C3%A1kti) Iceland (/wiki/Icelandic_national_costume) Sweden (/wiki/Culture_of_Sweden#Folk_costuming) Nationella dräkten (/wiki/Nationella_dr%C3%A4kten) Bäckadräkten (/wiki/B%C3%A4ckadr%C3%A4kten) Sverigedräkten (/w/index.php?title=Sverigedr%C3%A4kten&action=edit&redlink=1) South America Aguayo (/wiki/Aguayo_(cloth)) Chile Chamanto (/wiki/Chamanto) Chilote cap (/wiki/Chilote_cap) Chilote poncho (/wiki/Chilote_poncho) Chupalla (/wiki/Chupalla) Chullo (/wiki/Chullo) Guayabera (/wiki/Guayabera) Liqui liqui (/wiki/Liqui_liqui) Lliklla (/wiki/Lliklla) Panama hat (/wiki/Panama_hat) Pollera (/wiki/Pollera) Poncho (/wiki/Poncho) Ruana (/wiki/Ruana) North America Inuit skin clothing (/wiki/Inuit_clothing) Tignon (/wiki/Tignon) Ceinture fléchée (/wiki/Ceinture_fl%C3%A9ch%C3%A9e) Western wear (/wiki/Western_wear) Bolo tie (/wiki/Bolo_tie) Chaps (/wiki/Chaps) Huipil (/wiki/Huipil) Mexico Huarache (/wiki/Huarache_(shoe)) Mexican pointy boots (/wiki/Mexican_pointy_boots) Rebozo (/wiki/Rebozo) Serape (/wiki/Serape) Sombrero (/wiki/Sombrero) Quechquemitl (/wiki/Quechquemitl) Oceania Grass skirt (/wiki/Grass_skirt) Feather cloak (/wiki/Feather_cloak) I-sala (/wiki/I-sala) Lap-lap (/wiki/Lap-lap) Lavalava (/wiki/Lavalava) Kiekie (/wiki/Kiekie_(clothing)) Pareo (/wiki/Pareo) Sulu (/wiki/Sulu_(skirt)) Taʻovala (/wiki/Ta%CA%BBovala) Tēfui (/wiki/T%C4%93fui) Tupenu (/wiki/Tupenu) v t e Islam in Indonesia (/wiki/Islam_in_Indonesia) Branches Shia Islam (/wiki/Shia_Islam_in_Indonesia) Ahmadiyya (/wiki/Ahmadiyya_in_Indonesia) Kejawèn (/wiki/Kejaw%C3%A8n) Old divisions Abangan (/wiki/Abangan) Priyayi (/wiki/Priyayi) Santri (/wiki/Santri) Major figures Classic era Hamzah Fansuri (/wiki/Hamzah_Fansuri) Yusuf al-Makassari (/wiki/Sheikh_Yusuf) Malikussaleh (/wiki/Malikussaleh) Ismail al-Khalidi al-Minangkabawi (/wiki/Ismail_al-Khalidi_al-Minangkabawi) Abdullah al-Misri (/wiki/Abdullah_al-Misri) Padri (/wiki/Padri_War) Tuanku Imam Bonjol (/wiki/Tuanku_Imam_Bonjol) Tuanku Rao (/wiki/Tuanku_Rao) Tuanku Tambusai (/wiki/Tuanku_Tambusai) Wali Sanga (/wiki/Wali_Sanga) Sunan Ampel (/wiki/Sunan_Ampel) Sunan Bonang (/wiki/Sunan_Bonang) Sunan Drajat (/wiki/Sunan_Drajat) Sunan Giri (/wiki/Sunan_Giri) Sunan Gunung Jati (/wiki/Sunan_Gunung_Jati) Maulana Malik Ibrahim (/wiki/Malik_Ibrahim) Sunan Kalijaga (/wiki/Sunan_Kalijaga) Sunan Kudus (/wiki/Sunan_Kudus) Sunan Murya (/wiki/Sunan_Murya) Abdurrauf Singkil (/wiki/Abd_al-Rauf_al-Sinkili) Ali Mughayat Syah (/wiki/Ali_Mughayat_Syah) Tuanku Nan Tuo (/wiki/Tuanku_Nan_Tuo) Burhanuddin Ulakan (/wiki/Burhanuddin_Ulakan) Usman bin Yahya (/wiki/Usman_bin_Yahya) National Awakening era Abdullah Ahmad (/wiki/Abdullah_Ahmad_(ulama)) Abdul Karim Amrullah (/wiki/Abdul_Karim_Amrullah) Hasyim Asy'ari (/wiki/Hasyim_Asy%27ari) Ahmad Dahlan (/wiki/Ahmad_Dahlan) Tahir bin Jalaluddin (/wiki/Tahir_bin_Jalaluddin) Muhammad Jamil Jambek (/wiki/Muhammad_Jamil_Jambek) Mas Mansoer (/wiki/Mas_Mansoer) Ahmad Khatib al-Minangkabawi (/wiki/Ahmad_Khatib_al-Minangkabawi) Haji Misbach (/wiki/Haji_Misbach) Sulaiman ar-Rasuli (/wiki/Sulaiman_ar-Rasuli) Mohammad Roem (/wiki/Mohammad_Roem) Rasuna Said (/wiki/Rasuna_Said) Agus Salim (/wiki/Agus_Salim) Tjokroaminoto (/wiki/Oemar_Said_Tjokroaminoto) Post- independence Mukti Ali (/wiki/Mukti_Ali) Abdul Malik Karim Amrullah (/wiki/Hamka) Ahmad Syafi'i Maarif (/wiki/Ahmad_Syafi%27i_Maarif) Azyumardi Azra (/wiki/Azyumardi_Azra) Abu Bakar Bashir (/wiki/Abu_Bakar_Bashir) Idham Chalid (/wiki/Idham_Chalid) Djohan Effendi (/wiki/Djohan_Effendi) Abdullah Gymnastiar (/wiki/Abdullah_Gymnastiar) Wahid Hasyim (/wiki/Wahid_Hasyim) Kartosoewirjo (/wiki/Sekarmadji_Maridjan_Kartosoewirjo) Nurcholish Madjid (/wiki/Nurcholish_Madjid) Zainuddin M.Z. (/wiki/Zainuddin_M.Z.) Harun Nasution (/wiki/Harun_Nasution) Mohammad Natsir (/wiki/Mohammad_Natsir) Amien Rais (/wiki/Amien_Rais) Muhammad Rizieq Shihab (/wiki/Muhammad_Rizieq_Shihab) Quraish Shihab (/wiki/Quraish_Shihab) Ma'ruf Amin (/wiki/Ma%27ruf_Amin) Said Aqil Siradj (/wiki/Said_Aqil_Siradj) Abdul Somad (/wiki/Abdul_Somad) Din Syamsuddin (/wiki/Din_Syamsuddin) Abdurrahman Wahid (/wiki/Abdurrahman_Wahid) Muhammad Luthfi bin Yahya (/wiki/Muhammad_Luthfi_bin_Yahya) Ahmad Muhtadi Dimyathi (/wiki/Ahmad_Muhtadi_Dimyathi) Muammar Z.A. (/wiki/Muammar_Z.A.) Jalaluddin Rakhmat (/wiki/Jalaluddin_Rakhmat) Sheikh Ali Jaber (/wiki/Sheikh_Ali_Jaber) Organizations Civil society Alkhairaat (/wiki/Alkhairaat) Campus Dakwah Institute (/wiki/Campus_Dakwah_Institute) Hidayatullah (/wiki/Hidayatullah_(Islamic_organization)) Hizbut Tahrir Indonesia (/wiki/Hizbut_Tahrir_Indonesia) Indonesian Association of Muslim Intellectuals (/wiki/Indonesian_Association_of_Muslim_Intellectuals) Indonesia Institute of Islamic Dawah (/wiki/Indonesia_Institute_of_Islamic_Dawah) Indonesian Islamic Dawah Council (/wiki/Dewan_Dakwah_Islamiyah_Indonesia) Indonesian Mujahedeen Council (/wiki/Indonesian_Mujahedeen_Council) Indonesian Ulema Council (/wiki/Indonesian_Ulema_Council) Al-Irshad Al-Islamiya (/wiki/Al-Irshad_Al-Islamiya) Islamic Defenders Front (/wiki/Islamic_Defenders_Front) Liberal Islam Network (/wiki/Jaringan_Islam_Liberal) Majelis Rasulullah (/wiki/Majelis_Rasulullah) Muhammadiyah (/wiki/Muhammadiyah) Aisyiyah (/wiki/Aisyiyah) Muslim Students' Association (/wiki/Muslim_Students%27_Association_(Indonesia)) Nahdlatul Ulama (/wiki/Nahdlatul_Ulama) GP Ansor (/wiki/Ansor_Youth_Movement) JATMAN (/wiki/Jam%27iyyah_Ahlith_Thariqah_al-Mu%27tabarah_an-Nahdliyyah) Nahdlatul Wathan (/wiki/Nahdlatul_Wathan) PERSIS (/wiki/PERSIS_(organization)) PERTI (/wiki/Islamic_Education_Movement) Rabithah Alawiyah (/wiki/Al-Rabithah_al-Alawiyyah) Sarekat Islam (/wiki/Sarekat_Islam) Sumatera Thawalib (/wiki/Sumatera_Thawalib) Wahdah Islamiyah (/wiki/Wahdah_Islamiyah) Political parties Crescent Star Party (/wiki/Crescent_Star_Party_(Indonesia)) Indonesian Nahdlatul Community Party (/wiki/Indonesian_Nahdlatul_Community_Party) Masyumi Party (/wiki/Masyumi_Party) National Awakening Party (/wiki/National_Awakening_Party) National Mandate Party (/wiki/National_Mandate_Party) Prosperous Justice Party (/wiki/Prosperous_Justice_Party) Ummah Party (/wiki/Ummah_Party) United Development Party (/wiki/United_Development_Party) Militia Banser (/wiki/Banser) Darul Islam (/wiki/Darul_Islam_(Indonesia)) Jamaah Ansharut Tauhid (/wiki/Jamaah_Ansharut_Tauhid) Jamaah Islamiyah (/wiki/Jamaah_Islamiyah) Laskar Jihad (/wiki/Laskar_Jihad) Mujahidin Indonesia Timur (/wiki/Mujahidin_Indonesia_Timur) History Pre- independence Spread of Islam in Indonesia (/wiki/Spread_of_Islam_in_Indonesia) Ottoman embassy to Aceh (/wiki/Ottoman_embassy_to_Aceh) Wali Sanga (/wiki/Wali_Sanga) Islamic Kingdoms in Indonesia Aceh Sultanate (/wiki/Aceh_Sultanate) Demak Sultanate (/wiki/Demak_Sultanate) Kingdom of Kaimana (/wiki/Kingdom_of_Kaimana) Gowa Sultanate (/wiki/Gowa_Sultanate) Malacca Sultanate (/wiki/Malacca_Sultanate) Mataram Sultanate (/wiki/Mataram_Sultanate) Samudera Pasai Sultanate (/wiki/Samudera_Pasai_Sultanate) Ternate Sultanate (/wiki/Sultanate_of_Ternate) Tidore Sultanate (/wiki/Sultanate_of_Tidore) Yogyakarta Sultanate (/wiki/Yogyakarta_Sultanate) Padri War (/wiki/Padri_War) Post- independence Jakarta Charter (/wiki/Jakarta_Charter) Petition of Fifty (/wiki/Petition_of_Fifty) Tanjung Priok massacre (/wiki/Tanjung_Priok_massacre) Talangsari incident (/wiki/Talangsari_incident) Insurgency in Aceh (/wiki/Insurgency_in_Aceh) Maluku sectarian conflict (/wiki/Maluku_sectarian_conflict) Poso riots (/wiki/Poso_riots) Fatwa on Religious Pluralism, Liberalism, and Secularism (/wiki/Fatwa_on_Religious_Pluralism,_Liberalism,_and_Secularism) Operation Tinombala / Madago Raya (/wiki/Operation_Madago_Raya) November 2016 (/wiki/November_2016_Jakarta_protests) / December 2016 (/wiki/December_2016_Jakarta_protests) / February 2017 Jakarta protests (/wiki/February_2017_Jakarta_protests) Culture Adat (/wiki/Adat) Architecture (/wiki/Mosque_architecture_in_Indonesia) Bedug (/wiki/Bedug) Tajug (/wiki/Tajug) Babad Tanah Jawi (/wiki/Babad_Tanah_Jawi) Costumes (/wiki/Islam_in_Indonesia#Clothing) Kupiah (/wiki/Kupiah) Songkok Sarong (/wiki/Sarong) Kauman (/wiki/Kauman) Lebaran (/wiki/Lebaran) Mosques (/wiki/List_of_mosques_in_Indonesia) Istiqlal Mosque (/wiki/Istiqlal_Mosque,_Jakarta) Musabaqah Tilawatil Quran (/wiki/Musabaqah_Tilawatil_Quran) Qasidah (/wiki/Music_of_Indonesia#Qasidah_modern) Saman (/wiki/Saman_(dance)) Sejarah Banten (/wiki/Sejarah_Banten) Sekaten (/wiki/Sekaten) Serak Gulo (/wiki/Serak_Gulo) Slametan (/wiki/Slametan) Tabligh Akbar (/wiki/Tabligh_Akbar) Tabuik (/wiki/Tabuik) Tausiyah (/wiki/Tausiyah) Tombo Ati (/wiki/Tombo_Ati) Wetu Telu (/wiki/Wetu_Telu) Yaqowiyu (/wiki/Yaqowiyu) Education Al-Munir (/wiki/Al-Munir) Iqro (/wiki/Iqro) Jamiat Kheir (/wiki/Jamiat_Kheir) Kitab kuning (/wiki/Kitab_kuning) Kota santri (/wiki/Kota_santri) Kyai (/wiki/Kyai) LIPIA (/wiki/LIPIA) Pesantren (/wiki/Pesantren) Tafsir Al-Mishbah (/wiki/Tafsir_Al-Mishbah) Politics Islam Nusantara (/wiki/Islam_Nusantara) Islam Yes, Islamic Party No (/wiki/Islam_Yes,_Islamic_Party_No) Islamic criminal law in Aceh (/wiki/Islamic_criminal_law_in_Aceh) Jama’ah Tabligh (/wiki/Tablighi_Jamaat) Jemaah Tarbiyah (/wiki/Jemaah_Tarbiyah) Modernist (/wiki/Modernism_(Islam_in_Indonesia)) Traditionalist (/wiki/Traditionalism_(Islam_in_Indonesia)) By region Aceh (/wiki/Islam_in_Aceh) West Sumatra (/wiki/Islam_in_West_Sumatra) East Java (/wiki/Islam_in_East_Java) Central Sulawesi (/wiki/Islam_in_Central_Sulawesi) Mosques in Indonesia (/wiki/Template:Mosques_in_Indonesia) History of Indonesia (/wiki/Template:History_of_Indonesia) National Heroes of Indonesia (/wiki/Template:National_Heroes_of_Indonesia) v t e Indonesian clothing (/wiki/National_costume_of_Indonesia) Clothing identified with Indonesian culture (/wiki/Culture_of_Indonesia) and still worn today Textiles and weaving Geringsing (/wiki/Geringsing) Kain Bali (/wiki/Balinese_textiles) Kain Sumba (/wiki/Textiles_of_Sumba) Kain kulit kayu (/wiki/Barkcloth) Lurik Songket (/wiki/Songket) Tapis (/wiki/Tapis_(Indonesian_weaving_style)) Tenun (/wiki/Tenun) Ulos (/wiki/Ulos) Dyeing Batik (/wiki/Batik) Ikat (/wiki/Ikat) Jumputan (/wiki/Tie-dye) Prada Clothing Angkin (/wiki/Sash) Baju Bodo (/wiki/Bodo_blouse) Baju kain rumput Baju Koko Baju Kurung (/wiki/Baju_Kurung) Baju Melayu (/wiki/Baju_Melayu) Beskap Cawat (/wiki/Loincloth) Kain jarik Kain panjang Kain samping (/wiki/Samping) Kebaya (/wiki/Kebaya) Kemben (/wiki/Kemben) Kemeja Batik (/wiki/Batik) Koje Koteka (/wiki/Koteka) Rok Rumbia Sarung (/wiki/Sarong) Selendang (/wiki/Sash) Surjan Uis Gara Headgear Beluko Blangkon (/wiki/Blangkon) Caping (/wiki/Asian_conical_hat) Iket Jamang Hijab (/wiki/Hijab) Kerudung (/wiki/Veil) Kopiah (/wiki/Kupiah) Konde or sanggul (/wiki/Bun_(hairstyle)) ( hair extension (/wiki/Artificial_hair_integrations) ) Makuta (/wiki/Maku%E1%B9%ADa) Peci Siger Suntiang Tanjak (/wiki/Tanjak) (destar) Tengkuluk Tudung (/wiki/Tudong) Udeng Jewelry and ornaments Anting-anting (/wiki/Earring) Cincin (/wiki/Ring_(jewellery)) Gelang (/wiki/Bracelet) Giwang Gesper (/wiki/Belt_buckle) Kembang goyang (cunduk mentul) Kelat bahu (/wiki/Arm_ring) Kerongsang Pending Sabuk (/wiki/Belt_(clothing)) Subang Sumping Tusuk konde (/wiki/Hairpin) Upawita (/wiki/Upavita) Armour Baju Empurau (/wiki/Baju_Empurau) Baju Lamina (/wiki/Baju_Lamina) Baju Rantai (/wiki/Baju_Rantai) Baru Lema'a (/wiki/Baru_Lema%27a) Baru Öröba (/wiki/Baru_%C3%96r%C3%B6ba) Karambalangan (/wiki/Karambalangan) Kawaca (/wiki/Kawaca) Siping-siping (/wiki/Siping-siping) Footwear Bakiak (kelom) (/wiki/Clog) Sandals (/wiki/Sandal) Selop Sepatu v t e Malaysian clothing (/wiki/Malaysian_cultural_outfits) Textiles Batik (/wiki/Malaysian_batik) Blok (/wiki/Batik) Canting (/wiki/Canting) Ikat Celup (/wiki/Tie-dye) Ikat (/wiki/Ikat) Pua (/wiki/Pua_Kumbu) Loseng Limar Cindai (/wiki/Patola_sari) Kulit Kayu (/wiki/Barkcloth) Songket (/wiki/Songket) Tenun (/wiki/Tenun_Pahang_Diraja) Traditional Baju (/wiki/Dress_shirt) Badu Badu Sipak Baju Batik (/wiki/Malaysian_batik) Baju Kebaya (/wiki/Kebaya) Baju Kurung (/wiki/Baju_Kurung) Baju Lok Chuan (/wiki/Changshan) Baju Melayu (/wiki/Baju_Melayu) Baju Muskat (/wiki/Regalia_of_Malaysia#Royal_attire,_Muskat) Baju Panjang (/wiki/Peranakans#culture) Baju Sikap Kain (/wiki/Textile) Kelubung/Kemban (/wiki/Kemben) Sarong (/wiki/Sarong) Telekong Kelambi Cawat (/wiki/Loincloth) Headgear Dastar (/wiki/Dastar) Ketapu (/wiki/Katapu) Kopiah (/wiki/Taqiyah_(cap)#Malaysia) Mahkota/Ketopong (/wiki/Maku%E1%B9%ADa) Pemeleh Selayah (/wiki/Kerikam#Tudung_Keringkam) Selendang (/wiki/Kerikam#Tudung_Keringkam) Semutar Songkok Tengkolok/Tanjak (/wiki/Tengkolok) Terendak (/wiki/Asian_conical_hat) Tudong (/wiki/Tudong) Belts and sashes Bengkung (/wiki/Corset) Rawai Tinggi (/wiki/Corset) Samping (/wiki/Samping) Sebai (/wiki/Sbai) Selempang (/wiki/Sash) Tali Pinggang (/wiki/Belt_(clothing)) Footwear Capal (/wiki/Sandal) Kasut (/wiki/Slipper) Kasut Getah (/wiki/Adidas_Kampung) Kasut Manik (/wiki/Peranakan_beaded_slippers) Kasut Tekat (/wiki/Embroidery) Selipar (/wiki/Flip-flops) Terompah (/wiki/Clog) Accessories Aigrette (/wiki/Aigrette) Butang (/wiki/Button) Canggai (/wiki/Artificial_nails) Caping Cincin (/wiki/Ring_(jewellery)) Gandik (/wiki/Tiara) Giring-giring (/wiki/Jingle_bell) Kamar Kancing (/wiki/Cufflink) Kancing Halkah Kantung (/wiki/Coin_purse) Kerongsang (/wiki/Brooch) Pending (/wiki/Regalia_of_Malaysia#Royal_buckle) Rantai/Gelang Agok/Dokoh (/wiki/Locket) Kalung (/wiki/Pendant) Pontoh (/wiki/Arm_ring) Rantai Kaki (/wiki/Anklet) Rantai Leher (/wiki/Necklace) Rantai Tangan (/wiki/Bracelet) Gelang (/wiki/Bangle) Sibar Layang/Teratai Subang (/wiki/Earring) Anting-anting Sunting (/wiki/Suntiang) Bunga Malai (/wiki/Phuang_malai) Cucuk Sanggul (/wiki/Hairpin) Sisir (/wiki/Barrette) Gajah Olen Gempa Sunting Sanggul Lintang Sarempak Garigai Sugu Tinggi NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐6xc5s Cached time: 20240720165809 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.768 seconds Real time usage: 1.025 seconds Preprocessor visited node count: 4078/1000000 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White clothing worn in the sport of cricket "Flannels" redirects here. For the chain of fashion stores the UK, see Flannels (retail) (/wiki/Flannels_(retail)) . New Zealand (/wiki/New_Zealand_national_cricket_team) cricketers wearing cricket whites Cricket whites , [1] (#cite_note-1) also known as flannels , the kit, costume or uniform worn by most cricketers (/wiki/Cricket) , and usually consists of trousers, shirt and a jumper. Originally, as indicated by the name whites, flannels were exclusively white or cream. Today, many competitions (particularly in the shortened one-day version of cricket) are played in coloured kit, also sometimes known as pyjamas. Flannels were originally made from a variety of flannel (/wiki/Flannel) materials. Typically, modern flannels will have trousers made with a high elastic content, to prevent damage while fielding (/wiki/Fielding_(cricket)) . Shirts and jumpers can be short or long-sleeved, the former being particularly favoured by bowlers. Wicketkeepers mostly wear long-sleeved shirts, in order to avoid abrasions from the grass when diving for the ball, which is also true for some players while batting due to a similar risk. Jumpers are traditionally made with a cable-knit (/wiki/Cable-knit) design. The term flannels is also used in baseball (/wiki/Baseball) , especially in a historical context when the uniforms were made of wool flannel. At the international level, whites are only worn during Test cricket (/wiki/Test_cricket) . One Day International (/wiki/One_Day_International) and Twenty20 (/wiki/Twenty20) matches are played with the teams wearing team uniforms in particular colours. One-Day Internationals were first played in whites but since December 2000 all ODI cricket has been played in coloured clothing – for example, the Black Caps (/wiki/Black_Caps) of New Zealand currently wear a black uniform when playing a one-day match. See also [ edit ] Cricket portal (/wiki/Portal:Cricket) Fashion portal (/wiki/Portal:Fashion) Cricket clothing and equipment (/wiki/Cricket_clothing_and_equipment) References [ edit ] ^ (#cite_ref-1) Hickey, Julia (2006). Understanding Cricket . Coachwise 1st4sport. p. 5. ISBN (/wiki/ISBN_(identifier)) 978-1-905540-08-2 . v t e Cricket clothing and equipment (/wiki/Cricket_clothing_and_equipment) Equipment Bat (/wiki/Cricket_bat) Ball (/wiki/Cricket_ball) Stump (/wiki/Stump_(cricket)) Bails (/wiki/Bail_(cricket)) Clothing Pads (/wiki/Pads) Helmet (/wiki/Cricket_helmet) Cap (/wiki/Cricket_cap) Whites Wicket-keeper's gloves (/wiki/Wicket-keeper%27s_gloves) Others Baggy green (/wiki/Baggy_green) Bowling machine (/wiki/Bowling_machine) Cricket nets (/wiki/Cricket_nets) Hawk-Eye (/wiki/Hawk-Eye) Hot Spot (/wiki/Hot_Spot_(cricket)) Snickometer (/wiki/Snickometer) Stump microphone (/wiki/Stump_microphone) NewPP limit report Parsed by mw‐web.codfw.main‐58c7647fd9‐fvqdg Cached time: 20240712164008 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1] CPU time usage: 0.218 seconds Real time usage: 0.334 seconds Preprocessor visited node count: 354/1000000 Post‐expand include size: 10521/2097152 bytes Template argument size: 568/2097152 bytes Highest expansion depth: 8/100 Expensive parser function count: 5/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 14190/5000000 bytes Lua time usage: 0.157/10.000 seconds Lua memory usage: 3807188/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 305.037 1 -total 31.45% 95.947 1 Template:Reflist 27.63% 84.296 1 Template:Cite_book 24.59% 75.002 1 Template:Cricket_equipment 23.93% 73.007 1 Template:Navbox 21.42% 65.352 1 Template:Short_description 15.07% 45.977 1 Template:Redirects 12.29% 37.483 2 Template:Pagetype 6.90% 21.055 1 Template:Portal 5.54% 16.889 3 Template:Main_other Saved in parser cache with key enwiki:pcache:idhash:7690966-0!canonical and timestamp 20240712164008 and revision id 1073749913. Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Cricket_whites&oldid=1073749913 (https://en.wikipedia.org/w/index.php?title=Cricket_whites&oldid=1073749913) " Categories (/wiki/Help:Category) : Cricket equipment (/wiki/Category:Cricket_equipment) Sports uniforms (/wiki/Category:Sports_uniforms) Hidden categories: Articles with short description (/wiki/Category:Articles_with_short_description) Short description is different from Wikidata (/wiki/Category:Short_description_is_different_from_Wikidata) |
This article needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Fashion_illustration) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed. Find sources: "Fashion illustration" (https://www.google.com/search?as_eq=wikipedia&q=%22Fashion+illustration%22) – news (https://www.google.com/search?tbm=nws&q=%22Fashion+illustration%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Fashion+illustration%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Fashion+illustration%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Fashion+illustration%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Fashion+illustration%22&acc=on&wc=on) ( November 2007 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) George Barbier fashion plate titled La Belle Dame sans Merci, plate 47, from Gazette du Bon Ton, 1921, issue 6 Fashion illustration is the art of communicating fashion (/wiki/Fashion) ideas in a visual form through the use of drawing tools or design-based software programs. It is mainly used by fashion designers (/wiki/Fashion_designers) to brainstorm their ideas on paper or digitally. Fashion illustration plays a major role in design - it enables designers to preview garment ideas before they are converted to patterns and physically manufactured. History [ edit ] Fashion illustration (/wiki/Illustration) has been around for nearly 500 years. Ever since clothes have existed, there has been a need to translate an idea or image into a visual representation. Not only do fashion illustrations show a representation or design of a garment but they also serve as a form of art. The majority of fashion illustrations were created to be seen at a close range, often requiring the illustrator to have an eye for detail. [1] (#cite_note-1) Fashion illustration is said [ by whom? ] to be a visual luxury. [2] (#cite_note-2) More recently, there has been a decline of fashion illustration from the late 1930s when Vogue (/wiki/Vogue_(magazine)) began to replace its celebrated illustrated covers with photographic images. This was a major turning point in the fashion industry. Laird Borrelli, author of Fashion Illustration Now states, Fashion Illustration has gone from being one of the sole means of fashion communication to having a very minor role. The first photographic cover of Vogue was a watershed in the history of fashion illustration and a watershed mark of its decline. Photographs, no matter how altered or retouched, will always have some association with reality and by association truth. I like to think of them [fashion Illustrations] as prose poems and having more fictional narratives. They are more obviously filtered through an individual vision than photos. Illustration lives on, but in the position of a poor relative to the fashion., [3] (#cite_note-3) Fashion illustration differs from the fashion plate (/wiki/Fashion_plate) in that a fashion plate is a reproduction of an image, such as a drawing or photograph, for a magazine or book. Fashion illustrations can be made into fashion plate (/wiki/Fashion_plate) , but a fashion plate is not itself an original work of illustration. In the modern day fashion illustrations are seen more as interpretations of garments rather than exact replicas. [4] (#cite_note-4) Illustrators have more freedom when working for themselves rather than for magazines, that valued realism over the illustrator's creative liberties. Process of Fashion Illustration [ edit ] Designers use mediums such as gouache (/wiki/Gouache) , marker (/wiki/Marker_pen) , pastel (/wiki/Pastel) , and ink (/wiki/Ink) to convey the details of garments and the feeling invoked by the artist. With the rise of digital art (/wiki/Digital_art) , some artists have begun to create illustrations using Adobe Photoshop (/wiki/Adobe_Photoshop) or an application such as Procreate (/wiki/Procreate_(software)) . There are two main purposes for fashion illustration: design communication and artistic expression. For design communication, artists frequently begin with a sketch of a figure called a croquis (/wiki/Croquis) , and build a look on top of it. The artist takes care to render the fabrics and silhouettes used in the garment. They typically illustrate clothing on a figure with exaggerated 9-head or 10-head proportions. The artist will typically find samples of fabric, or swatches, to imitate in their drawing. When illustrating for artistic expression, accurate proportion and faithful rendering of textiles takes a back seat to dramatic usage of color and line to convey movement. Notable fashion illustrators [ edit ] Notable active illustrators [ edit ] Meagan Morrison [5] (#cite_note-5) David Downton (/wiki/David_Downton) (1959–) Julie Verhoeven (/wiki/Julie_Verhoeven) (1969-) Bil Donovan [6] (#cite_note-6) Mats Gustafson [7] (#cite_note-7) Laura Laine [8] (#cite_note-8) Connie Lim [9] (#cite_note-9) Antonio Soares [10] (#cite_note-10) Tina Berning (/wiki/Tina_Berning) Caroline Andrieu [11] (#cite_note-11) Elena Saets [1] (https://fr.scribd.com/document/657000138/peinture) Notable illustrators of the past [ edit ] Mode de Paris ou les mois de l'année d'une suite de 12 estampes en couleur ( bibliothèque de l'INHA (https://bibliotheque-numerique.inha.fr/collection/item/68167-redirection) ) Malo-Renault (/wiki/Malo-Renault) (1870–1938) George Barbier (/wiki/George_Barbier_(illustrator)) (1882–1932) Paul Iribe (/wiki/Paul_Iribe) (1883–1935) Carl 'Eric' Erickson (/wiki/Carl_Erickson_(illustrator)) (1891–1958) 'Erté' Romain de Tirtoff (/wiki/Ert%C3%A9) (1892–1990) Christian Bérard (/wiki/Christian_B%C3%A9rard) (1902–1949) Max Hoff (/wiki/Max_Hoff_(illustrator)) (1903–1985) Ruth Sigrid Grafstrom (/wiki/Ruth_Sigrid_Grafstrom) (1905–1986) Dagmar Freuchen (/wiki/Dagmar_Freuchen) (1907–1991) Rene Gruau (/wiki/Rene_Gruau) (1909–2004) Irwin Crosthwait (/wiki/Irwin_Crosthwait) (1914–1981) Lila De Nobili (/wiki/Lila_De_Nobili) (1916–2002) Bernard Blossac (/wiki/Bernard_Blossac) (1917–2002) Kenneth Paul Block (/wiki/Kenneth_Paul_Block) (1924–2009) Andy Warhol (/wiki/Andy_Warhol) (1928–1987) Antonio Lopez (/wiki/Antonio_Lopez_(illustrator)) (1943–1987) Joel Resnicoff (/wiki/Joel_Resnicoff) (1948–1986) [12] (#cite_note-12) Tony Viramontes (/wiki/Tony_Viramontes) (1956-1988) Further reading [ edit ] " Le Premier siècle de René Gruau " by Sylvie Nissen & Vincent Leret. Published by Thalia Edition Paris. 2009. ISBN (/wiki/ISBN_(identifier)) 978-2-35278-058-8 (/wiki/Special:BookSources/978-2-35278-058-8) An Illustrated History of Fashion: 500 Years of Fashion Illustration , by Alice Mackrell. Published by Costume & Fashion Press, 1997. ISBN (/wiki/ISBN_(identifier)) 0-89676-216-5 (/wiki/Special:BookSources/0-89676-216-5) . Fashion Illustration Next , by Laird Borrelli. Published by Chronicle Books, 2004. ISBN (/wiki/ISBN_(identifier)) 0-8118-4573-7 (/wiki/Special:BookSources/0-8118-4573-7) . New Fashion Illustration , by Martin Dawber. Published by Batsford, 2005. ISBN (/wiki/ISBN_(identifier)) 0-7134-8961-8 (/wiki/Special:BookSources/0-7134-8961-8) . Fashion Illustrator , by Bethan Morris. Published by Laurence King Publishing, 2006. ISBN (/wiki/ISBN_(identifier)) 1-85669-447-X (/wiki/Special:BookSources/1-85669-447-X) . 100 Years of Fashion Illustration by Cally Blackman. Published by Laurence King Publishing, 2007. ISBN (/wiki/ISBN_(identifier)) 1-85669-462-3 (/wiki/Special:BookSources/1-85669-462-3) . Essential Fashion Illustration: Details by Maite Lafuente. Published by Rockport Publishers, 2007. ISBN (/wiki/ISBN_(identifier)) 1-59253-331-0 (/wiki/Special:BookSources/1-59253-331-0) . Fashion Illustration: Inspiration and Technique by Anna Kiper. Published by David & Charles, 2011. ISBN (/wiki/ISBN_(identifier)) 978-0-7153-3618-2 (/wiki/Special:BookSources/978-0-7153-3618-2) 100 years of fashion illustration by Cally Blackman. Published by Laurence King, 2017. ISBN (/wiki/ISBN_(identifier)) 978-1-85669-462-9 (/wiki/Special:BookSources/978-1-85669-462-9) Illustration Now! Fashion. Published by Taschen, 2018. ISBN (/wiki/ISBN_(identifier)) 978-3-8365-6731-2 (/wiki/Special:BookSources/978-3-8365-6731-2) See also [ edit ] Illustration (/wiki/Illustration) Fashion (/wiki/Fashion) References [ edit ] ^ (#cite_ref-1) "Fashion Illustration from the 16th Century to Now - Illustration History" (https://www.illustrationhistory.org/essays/fashion-illustration-from-the-16th-century-to-now) . Archived (https://web.archive.org/web/20221104191248/https://www.illustrationhistory.org/essays/fashion-illustration-from-the-16th-century-to-now) from the original on 2022-11-04 . Retrieved 2022-11-04 . ^ (#cite_ref-2) Drake, Nicolas. (1994). "Fashion Illustration Today (Revised Edition)," Thames & Hudson Ltd., London. (p 7). ^ (#cite_ref-3) Borrelli, Laird. (2000). "Fashion Illustration Now," Thames & Hudson Ltd., London. (p 6-175). ^ (#cite_ref-4) a brief history of fashion illustrators, why they matter, and a few to check out (https://manicmetallic.com/personalities/a-brief-history-of-fashion-illustrators-why-they-matter-and-a-few-to-check-out/) , manicmetallic.com ^ (#cite_ref-5) Paton, Elizabeth (15 September 2016). "Fashion Returns to the Drawing Board" (https://www.nytimes.com/2016/09/15/fashion/fashion-illustration-exhibitions.html) . The New York Times . Archived (https://web.archive.org/web/20200618035211/https://www.nytimes.com/2016/09/15/fashion/fashion-illustration-exhibitions.html) from the original on 18 June 2020 . Retrieved 2 June 2020 . ^ (#cite_ref-6) "Bil Donovan 1953 –" (https://graymca.com/bil-donovan/) . graymca.com . Archived (https://web.archive.org/web/20231215213814/https://graymca.com/bil-donovan/) from the original on 15 December 2023 . Retrieved 28 November 2023 . ^ (#cite_ref-7) "Grasping the Essence" (https://www.listasafn.is/en/art/exhibitions/grasping-the-essence/) . listasafn.is . Archived (https://web.archive.org/web/20231215213606/https://www.listasafn.is/en/art/exhibitions/grasping-the-essence/) from the original on 15 December 2023 . Retrieved 28 November 2023 . ^ (#cite_ref-8) "Interview with fashion illustrator Laura Laine" (https://beretkah.co.uk/news/interview-with-fashion-illustrator-laura-laine) . beretkah.co.uk . Archived (https://web.archive.org/web/20231209201809/https://beretkah.co.uk/news/interview-with-fashion-illustrator-laura-laine) from the original on 9 December 2023 . Retrieved 28 November 2023 . ^ (#cite_ref-9) Mastorchio-Fabbri, Celia (28 February 2022). "MEET CONNIE LIM, FASHION ILLUSTRATOR AND AWARD-WINNING ARTIST" (https://magazine.luxus-plus.com/en/meet-connie-lim-fashion-illustrator-and-award-winning-artist/) . magazine.luxus-plus.com . Archived (https://web.archive.org/web/20231215210238/https://magazine.luxus-plus.com/en/meet-connie-lim-fashion-illustrator-and-award-winning-artist/) from the original on 15 December 2023 . Retrieved 28 November 2023 . ^ (#cite_ref-10) Domingues, Patrícia (12 February 2021). "Love is a strange place" (https://portuguesesoul.com/2021/02/12/antonio-soares/) . Portuguesesoul.com . Archived (https://web.archive.org/web/20221204211540/https://portuguesesoul.com/2021/02/12/antonio-soares/) from the original on 4 December 2022 . Retrieved 28 November 2023 . ^ (#cite_ref-11) Morgan, Patrick. "Don't stop until you drop. Caroline Andrieu talks drawing with Patrick Morgan" (https://www.fidaworldwide.com/pages/dont-stop-until-you-drop-caroline-andrieu-on-drawing) . fidaworlwide.com . Archived (https://web.archive.org/web/20231211145056/https://www.fidaworldwide.com/pages/dont-stop-until-you-drop-caroline-andrieu-on-drawing) from the original on 11 December 2023 . Retrieved 28 November 2023 . ^ (#cite_ref-12) Blackman, Cathy (2007). 100 years of fashion illustration . Laurence King Publishing. p. 169. ISBN (/wiki/ISBN_(identifier)) 978-1-85669-462-9 . External links [ edit ] Frances Needy Collection - information about research access http://www.fitnyc.edu/library/sparc/collections/frances-neady.php (http://www.fitnyc.edu/library/sparc/collections/frances-neady.php) Frances Needy Collection - SPARC Digital - https://sparcdigital.fitnyc.edu/items/browse?collection=26 (https://sparcdigital.fitnyc.edu/items/browse?collection=26) Victoria & Albert Museum - Fashion Drawing and Illustration - http://www.vam.ac.uk/content/articles/f/fashion-drawing-in-the-20th-century/ (http://www.vam.ac.uk/content/articles/f/fashion-drawing-in-the-20th-century/) Wikimedia Commons has media related to Fashion illustrators (https://commons.wikimedia.org/wiki/Category:Fashion_illustrators) . v t e Fashion (/wiki/Fashion) articles Index of fashion articles (/wiki/Index_of_fashion_articles) General Environmental impact of fashion (/wiki/Environmental_impact_of_fashion) Fashion accessory (/wiki/Fashion_accessory) Fashion design (/wiki/Fashion_design) Fashion 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2005 book by Randa Abdel-Fattah Does My Head Look Big In This? Author Randa Abdel-Fattah (/wiki/Randa_Abdel-Fattah) Language English (/wiki/English_language) Genre Young Adult Fiction (/wiki/Young_adult_fiction) Publisher Pac Macmillan (Australia) (/wiki/Macmillan_Publishers) Publication date 1 August 2005 Publication place Australia (/wiki/Australia) Media type Paperback (/wiki/Paperback) Pages 348 Awards ABIA (/wiki/Australian_Book_Industry_Awards) ISBN (/wiki/ISBN_(identifier)) 0-439-91947-9 (/wiki/Special:BookSources/0-439-91947-9) OCLC 74648918 (https://www.worldcat.org/oclc/74648918) LC Class PZ7.A15892 Doe 2007 Does My Head Look Big In This? is author Randa Abdel-Fattah (/wiki/Randa_Abdel-Fattah) 's first novel. It was released in Australia, by Pan MacMillan (/wiki/Macmillan_Publishers) Australia, on 1 August 2005. It won the Australian Book Industry Award (/wiki/Australian_Book_Industry_Award) and Australian Book of The Year Award for older children. [1] (#cite_note-1) The story revolves around (and is told from the view point of) a sixteen-year-old Muslim (/wiki/Muslim) girl who decides to wear the hijab (/wiki/Hijab) , a religious veil, full-time. Her decision leads to different reactions from her friends, family, and peers. This novel was adapted as a full-length play [2] (#cite_note-2) and is available from the Dramatic Publishing Company. [3] (#cite_note-3) Plot [ edit ] This novel tells the story of the life of a Muslim teenage girl of Palestinian descent in Australia (Amal Mohamed Nasrullah Abdel-Hakim). Her father is a doctor and her mother is a dentist. She is a grade 12 student at McCleans Grammar School, a prestigious school in Australia whose culture has been closely guarded for generations. A few days before the end of the second semester holiday, she decided to cover her private parts, namely her hair, with a hijab. She wants to wear the hijab full time, including while at school. She felt anxious and afraid, but she still had the courage to carry out his decision. Her religious but open-minded parents strongly supported her decision to wear the hijab, but were worried about the reactions and pressure from other people and her environment. However, because the parents understand that their child's intention to wear the hijab is because of religious instructions and without coercion, they support it. Right on the first day of school for semester 3. She really carried out her decision to wear the hijab full time, including at school. First she had to face his principal and explain the big decision she had taken. She thought Ms. Walsh, the principal, would scold him for breaking the discipline that had been maintained at her school. Next, she will face various reactions from his friends in class and in the school environment. After her parents were asked to come to school, she was finally allowed to wear a headscarf at school and became the only student who wore a headscarf at McCleans. At the end of this novel, Amal gets encouragement from herself that she is a Muslim. “I am a multicolored adjective. "Stories, confrontations, pain and happiness, they are the ones who have strengthened me to know myself, challenging me to accept my identity as a young Australian-Palestinian-Muslim girl " (p.348) Characters [ edit ] Amal Mohamed Nasrullah Abdel-Hakim is the main protagonist (/wiki/Protagonist) of the story. She is a sixteen-year-old Australian Palestinian-Muslim (/wiki/Palestinian_people) girl with green-blue eyes and light brown hair. Amal is deeply religious and very respectful of her family and elders. While watching a Friends (/wiki/Friends_(TV_series)) rerun, Amal is inspired by Rachel Green (/wiki/Rachel_Green) to wear the hijab as an act of responsibility and courage. Amal has strong feelings for Adam Keane, but puts her religion before her heart when he tries to kiss her at his birthday party. Leila Okulgen is one of Amal's friends. She is seventeen years old and is a Turkish (/wiki/Turkish_people) Muslim girl with dark brown hair, and deep brown eyes. Leila has a brother named Hakan who is deeply disrespectful of his parents and is extremely sexist towards his sister. She wears the hijab as a "full-timer", like Amal. Yasmeen Khan is Amal's friend. She is sixteen years old and is an Australian Muslim (/wiki/Muslim) of Pakistani (/wiki/Pakistani) and British (/wiki/British_people) descent with curly brown hair and brown eyes. Yasmeen has white skin with a ton of freckles. When in public, Yasmeen likes to pretend her name is Jasmine because she "thinks it's more exotic". Yasmeen doesn't wear the hijab full-time, and attends a public high school with Leila. Mrs. Vaselli is Amal's Greek neighbor. Originally portrayed as a grumpy old lady who Amal dislikes, she and Amal eventually connect over their stories about family and life as an immigrant. Simone is Amal's friend. She is sixteen years old and is a natural blonde. Since she is slightly overweight, Simone tries many fad diets, and is constantly bullied by Tia about her weight. Simone gets discouraged easily, and has a low self-esteem. She forms a romantic relationship with Josh. Eileen Tanaka is Amal's friend. She is a sixteen-year-old Japanese (/wiki/Japanese_people) girl. Eileen previously studied Japanese dance, and is interested in a creative arts degree, much to her parents' dismay. Unlike Simone and Amal, Eileen never comes close to having a romantic relationship. Adam Keane is Amal's crush, chemistry partner, and one of her close friends. Adam attempts to kiss Amal at his birthday party, but she rejects his advances, choosing to stand by her religion. This ends their flirtation, but after Leila runs away, they begin to rebuild their friendship. Josh Goldberg is Simone's love interest. He is Jewish (/wiki/Jewish) and supports Amal when she starts wearing a hijab. Tia Tamos is an antagonist and the school bully. Although she is "gorgeous", she is haughty and hypocritical. Tia is a prejudiced racist who constantly makes rude comments about Simone's weight, Eileen's heritage, and Amal's religion. She has a crush on Josh, much to his disgust. Claire Foster and Rita Mason are Tia's followers, who abide by everything she says and does. Uncle Joe is Amal's maternal uncle and was born "Ismail". He does not follow his religion, and tries his best to become fully "Aussie". Aunt Mandy is Joe's wife and Amal's aunt. Like her husband, she does not follow her religion. Samantha is Amal's cousin and one of the few extended family members Amal trusts and enjoys talking to. George is Amal's younger cousin. He is the son of Joe and Mandy, and is considered a pest by both Amal and Samantha. Hakan is Leila's older brother, who prefers to be known as Sam. He dislikes Leila and is verbally abusive towards her. References [ edit ] Australia portal (/wiki/Portal:Australia) Books portal (/wiki/Portal:Books) Islam portal (/wiki/Portal:Islam) Fashion portal (/wiki/Portal:Fashion) Children and Young Adult Literature portal (/wiki/Portal:Children_and_Young_Adult_Literature) ^ (#cite_ref-1) Chandab, Taghred (5 November 2006). "Lifting the veil on the Islam experience". The Sun-Herald (/wiki/The_Sun-Herald) . ^ (#cite_ref-2) "Does my head look big in this?" (https://www.dramaticpublishing.com/does-my-head-look-big-in-this) . Dramatic Publishing . ^ (#cite_ref-3) "Hood River Valley HS unveils new Muslim-themed play, 'Does My Head Look Big in This' (http://www.oregonlive.com/performance/index.ssf/2014/02/hood_river_valley_hs_unveils_n.html) " (http://www.oregonlive.com/performance/index.ssf/2014/02/hood_river_valley_hs_unveils_n.html) . OregonLive.com . Retrieved 24 January 2017 . 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Denim and casual wear jeans brand Pepe Jeans London Company type Sociedad de responsabilidad limitada (/wiki/Sociedad_de_responsabilidad_limitada) Industry Fashion (/wiki/Fashion) Founded 1973 (London, England) Founder Nitin, Arun and Milan Shah Headquarters Sant Feliu de Llobregat (/wiki/Sant_Feliu_de_Llobregat) , Spain Products Jeans, shirts, shorts, eye glasses Parent (/wiki/Parent_company) M1 Group (/wiki/M1_Group) Website www.pepejeans.com (https://www.pepejeans.com/) The Pepe Jeans showroom at Brigade Road (Bangalore, India) Pepe Jeans London is a denim (/wiki/Denim) and casual wear (/wiki/Casual_wear) jeans brand established in the Portobello Road (/wiki/Portobello_Road) area of London in 1973, and now based in Sant Feliu de Llobregat (/wiki/Sant_Feliu_de_Llobregat) , Spain. Carlos Ortega (/wiki/Carlos_Ortega_(businessman)) was the CEO, and owns more than 20% of the company. [1] (#cite_note-1) [2] (#cite_note-2) [3] (#cite_note-3) History [ edit ] Pepe Jeans was founded in 1973 by three brothers who ran a weekend stall at Portobello Road Market (/wiki/Portobello_Road_Market) in London, before expanding to a store in Carnaby Street (/wiki/Carnaby_Street) and then into Europe in the 1980s. [4] (#cite_note-4) In 1988, Pepe Jeans was owned by Arun, Nitin and Milan Shah. [5] (#cite_note-5) In February 2015, Pepe Jeans and Hackett London (/wiki/Hackett_London) (part of the Pepe Jeans Group) were bought by the Lebanese M1 Group (/wiki/M1_Group) , and the LVMH (/wiki/LVMH) subsidiary, L Capital Asia. These companies were previously owned by Torreal Funds (31 per cent), Artá Capital (16.4 per cent), L Capital Europe (11.5 per cent), and its managers. [6] (#cite_note-6) In 2015, Pepe Jeans announced the Group was adding a new brand, Norton Clothing, a tribute to the British motorcycle brand (/wiki/Norton_Motorcycle_Company) founded in 1898. [7] (#cite_note-7) In September 2019, Marcella Wartenbergh became CEO of Pepe Jeans Group. [8] (#cite_note-8) [9] (#cite_note-9) Also in 2019, Dua Lipa (/wiki/Dua_Lipa) became a global ambassador for the brand. [10] (#cite_note-10) In September 2023, Pepe Jeans celebrated its fifty years of existence in London, with a photo exhibition of its many campaigns and a dinner in honor of its new ambassador, Lila Moss (/wiki/Lila_Moss) . [11] (#cite_note-11) Later, in December, Pepe Jeans announced its aim to develop in the Indian market, where it is already present with around 200 stores. [12] (#cite_note-:0-12) Indeed, it plans is to open over 100 new stores in the country over the next three years, [12] (#cite_note-:0-12) Sponsorship [ edit ] Pepe Jeans has been a sponsor of Red Bull Racing (/wiki/Red_Bull_Racing) in Formula One (/wiki/Formula_One) since 2010. In 2024, Pepe Jeans signed a title partnership deal with Red Bull to form the Red Bull Racing Pepe Jeans Academy Programme (/wiki/Red_Bull_Academy_Programme) to support Hamda Al Qubaisi (/wiki/Hamda_Al_Qubaisi) for the 2024 season (/wiki/2024_F1_Academy_season) of F1 Academy (/wiki/F1_Academy) , a female-only single-seater racing (/wiki/Formula_racing) championship founded by Formula One. [13] (#cite_note-13) References [ edit ] ^ (#cite_ref-1) Manuel Baigorri; Kiel Porter (2014-07-28). "Pepe Jeans Said to Hire Morgan Stanley to Sell Business" (https://www.bloomberg.com/news/articles/2014-07-28/pepe-jeans-said-to-hire-morgan-stanley-to-sell-business) . Bloomberg . Retrieved 2016-05-11 . ^ (#cite_ref-2) "Pepe Jeans London might be sold" (http://www.sportswear-international.com/news/pages/protected/Pepe-Jeans-London-might-be-sold_8581.html) . Sportswear-international.com . Retrieved 2016-05-11 . ^ (#cite_ref-3) "Pepe Jeans has already found a buyer | The Luxonomist - Lujo, economía, moda, lifestyle" (http://www.theluxonomist.es/2015/02/04/pepe-jeans-has-already-found-a-buyer/leeson?lang=en) . Theluxonomist.es . 2015-02-04 . Retrieved 2016-05-11 . ^ (#cite_ref-4) "Pepe Jeans: from Portobello Road to private equity sale?" (https://www.telegraph.co.uk/finance/newsbysector/retailandconsumer/10996518/Pepe-Jeans-from-Portobello-Road-to-private-equity-sale.html) . telegraph.co.uk . Retrieved 21 August 2017 . ^ (#cite_ref-5) "Close-Up Preview: Raoul Shah" (https://www.drapersonline.com/business-operations/close-up-preview-raoul-shah/5053790.article) . drapersonline.com . 9 October 2013 . Retrieved 21 August 2017 . ^ (#cite_ref-6) "Pepe Jeans Group bought by LVMH subsidiary and Lebanese group" (https://fashionunited.uk/news/business/van-de-velde-turnover-up-8-7-percent-in-fy14/2015022415621) . FashionUnited (/wiki/FashionUnited) . February 11, 2015 . Retrieved June 18, 2015 . ^ (#cite_ref-7) "Pepe Jeans Group launches Norton Clothing" (https://web.archive.org/web/20150822201658/http://www.sportswearnet.com/fashionnews/pages/protected/Pepe-Jeans-Group-launches-Norton-Clothing_9836.html) . Sportswear International . July 31, 2015. Archived from the original (http://www.sportswearnet.com/fashionnews/pages/protected/Pepe-Jeans-Group-launches-Norton-Clothing_9836.html) on August 22, 2015. ^ (#cite_ref-8) Singh, Prachi (September 4, 2019). "Marcella Wartenbergh named CEO of Pepe Jeans" (https://fashionunited.uk/news/people/marcella-wartenbergh-named-ceo-of-pepe-jeans/2019090445104) . fashionunited.uk . ^ (#cite_ref-9) "Brands: Meet Pepe Jeans Group's new CEO" (https://www.sportswear-international.com/news/stories/Brands-Meet-Pepe-Jeans-Groups-new-CEO-14861) . sportswear-international.com . ^ (#cite_ref-10) "Clarins s'associe à Dassault Systèmes pour booster l'efficacité de ses usines" (https://us.fashionnetwork.com/news/Pepe-jeans-london-taps-dua-lipa-as-global-brand-ambassador,1072574.html) . Fashion Network . ^ (#cite_ref-11) "Pepe Jeans a fêté ses cinquante ans avec Lila Moss" (https://fr.fashionnetwork.com/news/Pepe-jeans-a-fete-ses-cinquante-ans-avec-lila-moss,1558432.html) . Fashion Network . Retrieved 23 April 2024 . ^ Jump up to: a b "Pepe Jeans veut ouvrir plus de 100 boutiques en Inde dans les trois ans" (https://fr.fashionnetwork.com/news/Pepe-jeans-veut-ouvrir-plus-de-100-boutiques-en-inde-dans-les-trois-ans,1584139.html) . Fashion Network . Retrieved 23 April 2024 . ^ (#cite_ref-13) Oracle Red Bull Racing (8 March 2024). "Oracle Red Bull Racing and Pepe Jeans London announce a debut ready-to-wear collection for Summer 2024" (https://www.redbullracing.com/int-en/oracle-red-bull-racing-and-pepe-jeans-london-partnership-announcement) . Red Bull Racing (/wiki/Red_Bull_Racing) . Retrieved 16 March 2024 . External links [ edit ] Official website (http://www.pepejeans.com) Portals (/wiki/Wikipedia:Contents/Portals) : Fashion (/wiki/Portal:Fashion) Spain (/wiki/Portal:Spain) Companies (/wiki/Portal:Companies) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐jhngs Cached time: 20240718233917 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.309 seconds Real time usage: 0.608 seconds Preprocessor visited node count: 1558/1000000 Post‐expand include size: 29195/2097152 bytes Template argument size: 1059/2097152 bytes Highest expansion depth: 9/100 Expensive parser function count: 4/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 51448/5000000 bytes Lua time usage: 0.197/10.000 seconds Lua memory usage: 5982245/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 352.579 1 -total 40.99% 144.528 1 Template:Reflist 35.23% 124.230 13 Template:Cite_web 26.61% 93.837 1 Template:Infobox_company 23.70% 83.568 1 Template:Infobox 19.84% 69.944 1 Template:Short_description 11.84% 41.756 2 Template:Pagetype 10.64% 37.526 1 Template:Portal_bar 4.85% 17.098 6 Template:Main_other 4.05% 14.292 1 Template:SDcat Saved in parser cache with key enwiki:pcache:idhash:7906434-0!canonical and timestamp 20240718233917 and revision id 1235372419. 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Evolution of fashion world For more information, see History of Western fashion (/wiki/History_of_Western_fashion) . Dress attributed to Charles Frederick Worth for Elisabeth of Austria (/wiki/Elisabeth_of_Bavaria) painted by Franz Xaver Winterhalter (/wiki/Franz_Xaver_Winterhalter) History of fashion design refers specifically to the development of the purpose and intention behind garments, shoes, accessories, and their design and construction. The modern industry, based around firms or fashion houses (/wiki/Fashion_houses) run by individual designers, started in the 19th century with Charles Frederick Worth (/wiki/Charles_Frederick_Worth) who, beginning in 1858, was the first designer to have his label sewn into the garments he created. [1] (#cite_note-1) Fashion started when humans began wearing clothes. These clothes were typically made from plants, animal skins and bone. Before the mid-19th century the division between haute couture (/wiki/Haute_couture) and ready-to-wear (/wiki/Ready-to-wear) did not really exist. But the most basic pieces of female clothing were made-to-measure (/wiki/Made-to-measure) by dressmakers (/wiki/Dressmaker) and seamstresses (/wiki/Seamstress) dealing directly with the client. Most often, clothing was patterned, sewn and tailored in the household. When storefronts appeared selling ready-to-wear clothing, this need was removed from the domestic workload. The design of these clothes became increasing based on printed designs, especially from Paris, which were circulated around Europe, and eagerly anticipated in the provinces. Seamstresses would then interpret these patterns as best they could. The origin of the designs was the clothes devised by the most fashionable figures, normally those at court, together with their seamstresses and tailors. Though there had been distribution of dressed dolls from France (/wiki/Fashion_dolls) since the 16th century and Abraham Bosse (/wiki/Abraham_Bosse) had produced engravings (/wiki/Engraving) of fashion in the 1620s, the pace of change picked up in the 1780s with increased publication of French engravings illustrating the latest Paris styles, followed by fashion magazines such as Cabinet des Modes (/wiki/Cabinet_des_Modes) . By 1800, all Western Europeans were dressing alike (or thought they were); local variations became first a sign of provincial culture and later a badge of the conservative peasant. [2] (#cite_note-2) In the early 20th century, fashion magazines and, with rotogravure (/wiki/Rotogravure) , newspapers, began to include photographs and became even more influential. Throughout the world these magazines were greatly sought-after and had a profound effect on public taste. Talented illustrators – among them Paul Iribe (/wiki/Paul_Iribe) , Georges Lepape, Erté (/wiki/Ert%C3%A9) , and George Barbier (/wiki/George_Barbier_(illustrator)) – drew attractive fashion plates for these publications, which covered the most recent developments in fashion and beauty. Perhaps the most famous of these magazines was La Gazette du Bon Ton (/wiki/La_Gazette_du_Bon_Ton) which was founded in 1912 by Lucien Vogel and regularly published until 1925. [3] (#cite_note-verp-3) Before 1900: Couture beginnings [ edit ] During the early 18th-century, the first fashion designers came to the fore as the leaders of fashion. In the 1720s, the queen's dressmaker Françoise Leclerc (/wiki/Fran%C3%A7oise_Leclerc) became sought-after by the women of the French aristocracy, [4] (#cite_note-4) and in the mid century, Marie Madeleine Duchapt (/wiki/Marie_Madeleine_Duchapt) , Mademoiselle Alexandre (/wiki/Mademoiselle_Alexandre) and Le Sieur Beaulard (/wiki/Le_Sieur_Beaulard) all gained national recognition and expanded their customer base from the French aristocracy to foreign aristocracy. [5] (#cite_note-5) However, Rose Bertin (/wiki/Rose_Bertin) is generally regarded as the first internationally famous fashion designer. Rose Bertin (/wiki/Rose_Bertin) (July 2, 1747 – September 22, 1813), dubbed the 'Minister of Fashion', was the dressmaker to Marie Antoinette, Queen of France from 1770 to 1793. Bertin opened a shop in Paris and had a considerable influence on Parisian style, until the French Revolution (/wiki/French_Revolution) forced her into exile in London. [6] (#cite_note-6) An outsider in the French Court, Marie Antoinette relied on Bertin's meticulous designs to help her "combat her enemies with style". Marie Antoinette's unique fashion preferences such as masculine riding breeches or simple muslin shift dresses, contrasted sharply with elaborate gowns as the Queen attempted to create a persona that would allow the citizens of France to connect with her and her lifestyle. Although Marie Antoinette's attempts were largely unsuccessful, the way in which Bertin helped the Queen express herself through fashion were groundbreaking and set a precedent for the monarchs who followed, and their designers, such as Louis Hippolyte Leroy (/wiki/Louis_Hippolyte_Leroy) . And by the early 19th century, designers such as Ann Margaret Lanchester (/wiki/Ann_Margaret_Lanchester) and Mary Ann Bell (/wiki/Mary_Ann_Bell) were expanding their businesses, and publishing their own designs in fashion magazines. [7] (#cite_note-7) In the first half of the 19th-century fashionable Parisian designers, such as Madame Vignon (/wiki/Madame_Vignon) , Madame Victorine (/wiki/Madame_Victorine) and Madame Palmyre (/wiki/Madame_Palmyre) , normally did not independently design a product which their clients could choose to buy, but rather created the product in collaboration with their clients wishes, to produce something unique. [8] (#cite_note-8) An Englishman living in Paris, Charles Frederick Worth (/wiki/Charles_Frederick_Worth) (1825–1905) is regarded as the first designer in the modern sense of the term, with a large business employing many largely anonymous tailors and seamstresses. A former draper, Worth's success was such that he was able to dictate what customers should wear. Launched into the spotlight as the Empress Eugénie (/wiki/Empress_Eug%C3%A9nie) 's primary designer, Worth used his royal connections to gain recognition and clients. The proclamation on February 1, 1853 by Napoleon III (/wiki/Napoleon_III) that no visitors would be received to his court without formal dress meant that the popularity of Worth-style gowns became overwhelming. Ornately decorated and constructed from the finest materials, Worth's gowns are well known for their crinolines (/wiki/Crinoline) (cage-like metal structures that held the dress out in a stylish shape). Throughout the early decades of the 20th century, high fashion originated in Paris and, to a lesser extent, London. [ citation needed ] Fashion magazines (/wiki/Fashion_magazine) from other countries sent editors to the Paris fashion shows. Department stores (/wiki/Department_store) also sent buyers to the Paris shows, where they purchased garments to copy (and openly stole the style lines and trim details of others). Both made-to-measure (/wiki/Made-to-measure) salons and ready-to-wear (/wiki/Ready-to-wear) departments featured the latest Paris trends, adapted to the stores' assumptions about the lifestyles and pocket books of their targeted people. 1900s [ edit ] Main article: 1900s in fashion (/wiki/1900s_in_fashion) Fashionable lady of the era: portrait by Giovanni Boldini (/wiki/Giovanni_Boldini) (1845–1931) showing Elizabeth Wharton Drexel (/wiki/Elizabeth_Wharton_Drexel) in 1905. The outfits worn by fashionable women of during the Belle Époque (/wiki/Belle_%C3%89poque) (1871–1914) were strikingly similar to those worn in the heyday of the fashion pioneer Charles Worth. By the end of the 19th century, the horizons of the fashion industry had broadened, due to the more stable and independent lifestyles of well-off women and the practical clothes they demanded. However, the fashions of the Belle Époque still retained the elaborate, upholstered style of the 19th century. The changing of fashion was unthinkable, so the use of different trimmings was all that distinguished clothing from one season to the next. Conspicuous waste and conspicuous consumption (/wiki/Conspicuous_consumption) defined the fashions of the decade and the outfits of the couturiers of the time were extravagant, ornate, and painstakingly made. The curvaceous S-Bend silhouette dominated fashion up until around 1908. The S-Bend corset thrust the chest forward into the mono-bosom, and, with the aid of padding, judicious placement of trim in clothing, and, most especially, a particular posture entirely independent of the corset, created the illusion of an "S" silhouette. [9] (#cite_note-9) Toward the end of the decade Paul Poiret (/wiki/Paul_Poiret) introduced designs that did not include a petticoat or a corset, taking the S shape out of fashion. This was a big change, as women's waists had been shaped by corsets since the Renaissance. [10] (#cite_note-10) The Maison Redfern (/wiki/Redfern_(couture)) , founded by the English tailor John Redfern (1820–1895), was the first fashion house to offer women sportswear and tailored suits based on their male counterparts, and his practical and soberly elegant garments soon became indispensable to the wardrobes of well-dressed women. 1910s [ edit ] Main article: 1910s in fashion (/wiki/1910s_in_fashion) During the early years of the 1910s the fashionable silhouette became much more lithe and fluid, and softer than in the 19th century. When the Ballets Russes (/wiki/Ballets_Russes) performed Scheherazade (/wiki/Scheherazade_(Rimsky-Korsakov)) in Paris in 1910, a craze for Orientalism (/wiki/Orientalism) ensued. The couturier Paul Poiret was one of the first designers to translate this into the fashion world. Poiret's clients were at once transformed into harem (/wiki/Harem) girls in flowing pantaloons, turbans, and vivid colors and geisha (/wiki/Geisha) in exotic kimono (/wiki/Kimono) . Poiret also devised the first outfit which women could put on without the help of a maid. [11] (#cite_note-fashion_kyoto-11) The Art Deco (/wiki/Art_Deco) movement began to emerge at this time and its influence was evident in the designs of many couturiers of the time. Simple felt hats, turbans, and clouds of tulle replaced the styles of headgear popular in the 19th century. It is also notable that the first real fashion shows were organized during this period, by Jeanne Paquin (/wiki/Jeanne_Paquin) , one of the first female couturiers, who was also the first Parisian couturier to open foreign branches in London, Buenos Aires, and Madrid. [12] (#cite_note-12) Two of the most influential fashion designers of the time were Jacques Doucet (/wiki/Jacques_Doucet_(fashion_designer)) and Mariano Fortuny (/wiki/Mariano_Fortuny_(designer)) . Doucet excelled in layering pastel colors and his elaborate gossamer dresses suggested the Impressionist (/wiki/Impressionist) shimmers of reflected light. His distinguished customers never lost a taste for his fluid lines and flimsy, diaphanous materials. While obeying imperatives that left little to the imagination of the couturier, Doucet was nonetheless a designer of immense taste and discrimination, a role many have tried since, but rarely with Doucet's level of success. The Venice (/wiki/Venice) -based designer Mariano Fortuny y Madrazo, was a curious figure, with very few parallels in any age. For his dress designs he conceived a special pleating process and new dyeing techniques. He gave the name Delphos (/wiki/Delphos_gown) to his long clinging sheath dresses that undulated with color. Each garment was made of a single piece of the finest silk, its unique color acquired by repeated immersions in dyes whose shades were suggestive of moonlight or of the watery reflections of the Venetian lagoon. Breton straw, Mexican cochineal, and indigo from the Far East were among the ingredients that Fortuny used. Among his many devotees were Eleonora Duse (/wiki/Eleonora_Duse) , Isadora Duncan (/wiki/Isadora_Duncan) , Cléo de Mérode (/wiki/Cl%C3%A9o_de_M%C3%A9rode) , the Marchesa Casati (/wiki/Marchesa_Casati) , Émilienne d'Alençon (/wiki/%C3%89milienne_d%27Alen%C3%A7on) , and Liane de Pougy (/wiki/Liane_de_Pougy) . Changes in dress during World War I were dictated more by necessity than fashion. As more and more women were forced to work, they demanded clothes that were better suited to their new activities. Social events had to be postponed in favor of more pressing work and the need to mourn the increasing numbers of dead, visits to the wounded, and the general gravity of the time meant that darker colors became the norm. A new monochrome look emerged that was unfamiliar to young women in comfortable circumstances. By 1915 fashionable skirts had risen above the ankle and, by 1920, to mid-calf. Golden age of French fashion [ edit ] The period between the two World Wars, often considered to be the Golden Age of French fashion, was one of great change and reformation. Haute couture found new clients in the ranks of film actresses (/wiki/Film_actress) , American heiresses, and the wives and daughters of wealthy industrialists [ citation needed ] . 1920s [ edit ] Main article: 1920s in fashion (/wiki/1920s_in_fashion) Fashionable Hollywood actress Louise Brooks (/wiki/Louise_Brooks) After the First World War, a radical change came about in fashion. Bouffant (/wiki/Bouffant) coiffures gave way to short bobs (/wiki/Bob_cut) , dresses with long trains gave way to above-the-knee pinafores. Corsets were abandoned and women borrowed their clothes from the male wardrobe and chose to dress like boys. Although, at first, many couturiers were reluctant to adopt the new androgynous (/wiki/Androgynous) style, they embraced them wholeheartedly from around 1925. A bustless, waistless silhouette emerged and aggressive dressing-down was mitigated by feather boas, embroidery, and showy accessories. The flapper (/wiki/Flapper) style (known to the French as the 'garçonne' look) became very popular among young women. The cloche (/wiki/Cloche_hat) hat was widely worn and sportswear became popular with both men and women, with designers like Jean Patou and Coco Chanel popularizing the sporty and athletic look. The great couturière Coco Chanel (/wiki/Coco_Chanel) was a major figure in fashion at the time, known as much for her magnetic personality as for her chic and progressive designs. Chanel helped popularize the bob hairstyle, the little black dress (/wiki/Little_black_dress) , and the use of jersey knit for women's clothing; she also elevated the status of costume jewelry and knitwear. Two other prominent French designers of the 1920s were Jeanne Lanvin (/wiki/Jeanne_Lanvin) and Jean Patou (/wiki/Jean_Patou) . Jeanne Lanvin, who began her career as a milliner, made such beautiful outfits for her young daughter Marguerite that people started to ask for copies. Lanvin's name appears in the fashion yearbook from about 1901, however, it was in the 1920s that she reached the peak of her success. The Lanvin style embraced the look of the time, with its skillful use of complex trimmings, dazzling embroideries, and beaded decorations in light, clear, floral colors that eventually became a Lanvin trademark. By 1925 Lanvin produced many different products, including sportswear, furs, lingerie, men's fashion, and interior designs. Her global approach to fashion foreshadowed the schemes that all the large contemporary fashion houses would later adopt in their efforts to diversify. The style of Jean Patou was never mainstream, but full of originality and characterized by a studied simplicity which was to win him fame, particularly in the American markets. Many of his garments, with their clean lines, geometric and Cubist (/wiki/Cubist) motifs, and mixture of luxury and practicality, were designed to satisfy the new vogue for the outdoor life, and bore a remarkable similarity to modern sportswear. The most famous advocate of his style was Suzanne Lenglen (/wiki/Suzanne_Lenglen) , the legendary tennis champion. In menswear, there was a growing mood of informality, among the Americans especially, which was mirrored in fashions that emphasized youthfulness and relaxation. In the past, there was a special outfit for every event in the well-dressed gentleman's day, but young men in the 1920s, no longer afraid to show their youthfulness, began to wear the same soft wool suit all day long. Short suit jackets replaced the old long jackets of the past which were now only worn for formal occasions. Men had a variety of sports clothes available to them, including sweaters and short pants, commonly known as knickers. For evening wear a short tuxedo (/wiki/Tuxedo) was more fashionable than the tail-coat, which was now seen as somewhat old-fashioned. The London cut, with its slim lines, loose-fitting sleeves, and padded shoulders, perfected by the English tailor Scholte, was very popular. Fair Isle (/wiki/Fair_Isle) patterns became very popular for both sexes. Heels, at the time, were often over two inches high and helped popularize the two-tone shoe. Salvatore Ferragamo (/wiki/Salvatore_Ferragamo) and André Perugia (/wiki/Andr%C3%A9_Perugia) were two of the most influential and respected designers in footwear. Many stars of silent film (/wiki/Silent_film) had a significant impact on fashion during the 1920s, including Louise Brooks (/wiki/Louise_Brooks) , Gloria Swanson (/wiki/Gloria_Swanson) , and Colleen Moore (/wiki/Colleen_Moore) . The lighthearted, forward-looking fashions of the 1920s gradually came to halt after the Wall Street Crash of 1929 (/wiki/Wall_Street_Crash_of_1929) , and succumbed to a more conservative style. While the flapper look persisted into 1930, it quickly disappeared afterward, although bell-shaped hats lasted through 1933. 1930s [ edit ] Main article: 1930s in fashion (/wiki/1930s_in_fashion) In the 1930s, as the public began to feel the effects of the Great Depression (/wiki/Great_Depression) , many designers found that crises were not the time for experimentation. Fashion became more compromising, aspiring to preserve feminism (/wiki/Feminism) 's victories while rediscovering a subtle and reassuring elegance and sophistication. Overall, 1930s clothing was somber and modest, reflecting the difficult social and economic situation of the decade. Women's fashions moved away from the brash, daring style of the 1920s towards a more romantic, feminine silhouette. The waistline was restored, hemlines dropped to nearly ankle-length, there was renewed appreciation of the bust, and backless evening gowns, and soft, slim-fitting day dresses became popular. The female body was remodeled into a more neo-classical shape, and slim, toned, and athletic bodies came into vogue. The fashion for outdoor activities stimulated couturiers to manufacture what would today be referred to as "sportswear." The term "ready-to-wear" was not yet widely in use, but the boutiques described such clothes as being "for sport". In place of the bobbed flapper haircut, the standard women's hairstyle of the 1930s was a modest, short perm. Two of the most prominent and influential fashion designers of the 1930s were Elsa Schiaparelli (/wiki/Elsa_Schiaparelli) and Madeleine Vionnet (/wiki/Madeleine_Vionnet) . Elsa Schiaparelli showed her first collection in 1929 and was immediately hailed by the press as 'one of the rare innovators' of the day. With her exciting and inventive designs, Schiaparelli did not so much revolutionize fashion as shatter its foundations. The first pullover she displayed in her windows created a sensation: it was knitted in black with a trompe-l'œil (/wiki/Trompe-l%27%C5%93il) white bow. Schiaparelli was a close friend of Christian Bérard (/wiki/Christian_B%C3%A9rard) , Jean Cocteau (/wiki/Jean_Cocteau) , and Salvador Dalí (/wiki/Salvador_Dal%C3%AD) , who designed embroidery motifs for her and supplied inspiration for models like the desk suit with drawers for pockets, the shoe-shaped hat, the silk dresses painted with flies or lobsters (/wiki/Lobster_dress) . All of Paris thronged to her salon at 21 Place Vendôme (/wiki/Place_Vend%C3%B4me) as collection succeeded collection. Madeleine Vionnet found her inspiration in ancient statues, creating timeless and beautiful gowns that would not look out of place on a Greek frieze. Queen of the bias cut (cutting diagonally across the fabric's lengthwise threads), she produced evening dresses that fitted the body without excessive elaboration or dissimulation, employing a flowing and elegant line. Her perfect draping of chiffon, silk, and Moroccan crêpe (/wiki/Cr%C3%AApe) created a marvelously poised and sensual effect. The unparalleled success of Vionnet's cuts guaranteed her reputation right up to her retirement in 1939. Mainbocher (/wiki/Mainbocher) , the first American designer to live and work in Paris, was also influential, with his plain yet supremely elegant designs, often employing the bias cut pioneered by Vionnet. The luxury goods manufacturer Hermès (/wiki/Herm%C3%A8s) began to sell handmade printed silk square scarves in the early 1930s, in addition to popularizing the zipper and many other practical innovations. Toward the end of the decade, women's fashions took on a somewhat more imposing and broad-shouldered silhouette, possibly influenced by Elsa Schiaparelli. Men's fashions continued the informal, practical trend that had dominated since the end of the First World War. Mid-twentieth century [ edit ] After World War II, Paris's reputation as the global center of fashion began to crumble. A new youth style emerged in the 1950s, changing the focus of fashion. In the West, the traditional divide between high society and the working class was challenged. In particular, a new young generation wanted to reap the benefits of a booming consumer society. Privilege became less blatantly advertised than in the past and differences were more glossed over. As the ancient European hierarchies were overturned, the external marks of distinction faded. By the time the first rockets were launched into space, Europe was more than ready to adopt a quality ready-to-wear garment along American lines—something to occupy the middle ground between off-the-peg and couture. This need was all the more pressing because increases in overhead and raw material costs were beginning to relegate handmade fashion to the sidelines. Meanwhile, rapidly developing new technologies made it increasingly easy to manufacture an ever-improving, high-quality product. Faced with the threat of a factory-made, fashion-based product, Parisian fashion couture mounted its defenses, but to little effect. While the old world was taking its final bow, the changes in fashion were one of the most visible manifestations of the general shake-up in society. Before long, classes of women hitherto restricted to inferior substitutes to haute couture would enjoy a greatly enlarged freedom of choice. Dealing in far larger quantities, production cycles were longer than those of couture workshops, which meant that stylists planning their lines for the twice-yearly collections had to try to guess more than a year in advance what their customers would want. A new authority had taken over—that of the street, constituting a further threat to the dictatorship of couture. 1940s [ edit ] Many fashion houses closed during the occupation of Paris during World War II (/wiki/World_War_II) , including the Maison Vionnet and the Maison Chanel. Several designers, including Mainbocher, permanently relocated to New York (/wiki/New_York_City) . In the enormous moral and intellectual re-education program undertaken by the French state, couture was not spared. In contrast to the stylish, liberated Parisienne, the Vichy regime (/wiki/Vichy_regime) promoted the model of the wife and mother—a robust, athletic young woman—a figure much more consistent with the new regime's political agenda. Meanwhile, Germany was taking possession of over half of what France (/wiki/France) produced, including high fashion, and was considering relocating French haute couture to Berlin (/wiki/Berlin) and Vienna (/wiki/Vienna) . The archives of the Chambre Syndicale de la Couture were seized, including, most consequentially, the client list. The point of all this was to break up a monopoly that supposedly threatened the dominance of the Third Reich (/wiki/Third_Reich) . Due to difficult times, hemlines crept upward in both evening wear and day wear, the latter of which was made using substitute materials whenever possible. From 1940 onward, fabric was needed for military personnel; to everyone else, it was rationed, with an allowance of no more than four meters (thirteen feet) of cloth was permitted to be used for a coat and a little over one meter (three feet) for a blouse. No belt could be over 3 centimeters (one and a half inches) wide. Everyone, from housewives to designers, was forced to re-use of old fabric or create new styles out of old garments. [13] (#cite_note-13) Haute couture did its best to keep its flag flying. Humor and frivolity became a popstar way of defying the occupying powers and couture survived. Although some have argued that the reason it endured was due to the patronage of the wives of wealthy Nazis, records reveal that, aside from the usual wealthy Parisiennes, it was an eclectic mix of the wives of foreign ambassadors, clients from the black market, and miscellaneous other patrons of the salons (among whom German women were but a minority) that kept the doors open at fashion houses such as Jacques Fath (/wiki/Jacques_Fath) , Maggy Rouff (/wiki/Maggy_Rouff) , Marcel Rochas, Jeanne Lafaurie, Nina Ricci (/wiki/Nina_Ricci_(designer)) , and Madeleine Vramant (/wiki/Madeleine_Vramant) . Permed hairstyles remained standard, although during the '40s, this evolved into a bobbed roll along the lower part of the hairline. During the Occupation, the only true way for a woman to flaunt her extravagance or add color to a drab outfit was to wear a hat. In this period, hats were often made of scraps of material that would otherwise have been thrown away, including bits of paper and wood shavings. Among the most innovative milliners of the time were Pauline Adam, Simone Naudet, Rose Valois (/wiki/Rose_Valois) , and Le Monnier. Paris's isolated situation in the 1940s enabled Americans to fully utilize the ingenuity and creativity of their own designers. During the Second World War, Vera Maxwell (/wiki/Vera_Maxwell) presented outfits constituted of plain, simply cut coordinates, and introduced innovations to men's work clothes. Bonnie Cashin (/wiki/Bonnie_Cashin) transformed boots into a major fashion accessory, and, in 1944, began the production of original and imaginative sportswear. Claire McCardell (/wiki/Claire_McCardell) , Anne Klein (/wiki/Anne_Klein_(fashion_designer)) , and Cashin formed a remarkable trio of women who laid the foundations of American sportswear (/wiki/Sportswear_(fashion)) , ensuring that ready-to-wear (/wiki/Ready-to-wear) was not considered a mere second best, but an elegant and comfortable way for modern women to dress. In the War Years, the zoot suit (/wiki/Zoot_suit) (and in France the zazou (/wiki/Zazou) suit) became popular among young men. Many actresses of the time, including Rita Hayworth (/wiki/Rita_Hayworth) , Katharine Hepburn (/wiki/Katharine_Hepburn) , and Marlene Dietrich (/wiki/Marlene_Dietrich) , had a significant impact on popular fashion. The couturier Christian Dior (/wiki/Christian_Dior) created a tidal wave with his first collection in February 1947. The collection contained dresses with accentuated busts, tiny (or "wasp") waists, and extravagantly full skirts, emphasizing the feminine hourglass figure in a manner very similar to the style of the Belle Époque. The lavish use of fabric and the feminine elegance of the designs appealed to post-war clientele and ensured Dior's meteoric rise to fame. The sheer sophistication of the style incited the all-powerful editor of the American Harper's Bazaar (/wiki/Harper%27s_Bazaar) , Carmel Snow (/wiki/Carmel_Snow) , to exclaim 'This is a new look!'. 1950s [ edit ] Main article: 1950s in fashion (/wiki/1950s_in_fashion) Flying in the face of continuity, support and logic, and erudite sociological predictions, fashion in the 1950s, far from being revolutionary and progressive, used more from the previous decade. A whole society which, in the 1920s and 1930s, had greatly believed in progress, was now much more circumspect. Despite the fact that women had the right to vote, to work, and to drive their own cars, they chose to wear dresses made of opulent materials, with corseted waists and swirling skirts to mid-calf. As fashion looked to the past, haute couture experienced something of a revival and spawned a myriad of star designers who profited hugely from the rapid growth of the media. Throughout the 1950s, although it would be for the last time, women around the world continued to submit to the trends of Parisian haute couture. Three of the most prominent of the Parisian couturiers of the time were Cristóbal Balenciaga (/wiki/Crist%C3%B3bal_Balenciaga) , Hubert de Givenchy (/wiki/Hubert_de_Givenchy) , and Pierre Balmain (/wiki/Pierre_Balmain) . The frugal prince of luxury, Cristóbal Balenciaga Esagri made his fashion debut in the late 1930s. However, it was not until the post-war years that the full scale of the inventiveness of this highly original designer became evident. In 1951, he totally transformed the silhouette, broadening the shoulders and removing the waist. In 1955, he designed the tunic dress, which later developed into the chemise dress of 1957. And eventually, in 1959, his work culminated in the Empire line, with high-waisted dresses and coats cut similarly to kimono. His mastery of fabric design and creation defied belief. Balenciaga is also notable as one of the few couturiers in fashion history who could use their own hands to design, cut, and sew the models which symbolized the height of his artistry. Hubert de Givenchy (/wiki/Hubert_de_Givenchy) opened his first couture house in 1952 and created a sensation with his separates, which could be mixed and matched at will. Most renowned was his Bettina (/wiki/Bettina) blouse made from shirting, which was named after his top model. Soon, boutiques were opened in Rome, Zurich (/wiki/Zurich) , and Buenos Aires. A man of immense taste and discrimination, he was, perhaps more than any other designer of the period, an integral part of the world whose understated elegance he helped to define. Pierre Balmain opened his own salon in 1945. It was in a series of collections named 'Jolie Madame' that he experienced his greatest success, from 1952 onwards. Balmain's vision of the elegantly dressed woman was particularly Parisian and was typified by the tailored glamour of the " New Look (/wiki/Christian_Dior_S.A.#The_"New_Look") ", with its ample bust, narrow waist, and full skirts, by mastery of cut and imaginative assemblies of fabrics in subtle color combinations. His sophisticated clientele was equally at home with luxurious elegance, simple tailoring, and a more natural look. Along with his haute couture work, the talented businessman pioneered a ready-to-wear range called Florilege and also launched a number of highly successful perfumes. Also notable is the return of Coco Chanel (who detested the "New Look") to the fashion world. Following the closure of her salons in the war years, in 1954, aged over seventy, she staged a comeback and on February 5 she presented a collection that contained a whole range of ideas that would be adopted and copied by women all over the world: her famous little braided suit with gold chains, shiny costume jewelry, silk blouses (/wiki/Silk_blouses) in colors that matched the suit linings, sleek tweeds, monogrammed buttons, flat black silk bows, boaters, quilted bags on chains, and evening dresses and furs that were marvels of simplicity. Despite being a high fashion designer, American-born Mainbocher also designed military and civilian service uniforms. In 1952, he redesigned the Women Marines service uniform combining femininity with functionality. Previous redesigns include uniforms for the WAVES ( Women Accepted for Volunteer Emergency Service (/wiki/Women_Accepted_for_Volunteer_Emergency_Service) ) in 1942, and uniform designs for the Girl Scouts of the USA (/wiki/Girl_Scouts_of_the_USA) and the American Red Cross (/wiki/American_Red_Cross) in 1948. Dior's "New Look" (that premiered in 1947) revived the popularity of girdles and the all-in-one corselettes. In the early 1950s, many couture houses used the interest in "foundationwear" to launch their own lines, soon after many lingerie manufacturers began to build their own brands. In 1957, Jane Russell wore the "Cantilever" bra that was scientifically designed by Howard Hughes to maximize a voluptuous look. The invention of Lycra (originally called "Fibre K") in 1959 revolutionized the underwear industry and was quickly incorporated into every aspect of lingerie. After the war, the American look (which consisted of broad shoulders, floral ties, straight-legged pants, and shirts with long pointed collars, often worn hanging out rather than tucked in) became very popular among men in Europe. Certain London manufacturers ushered in a revival of Edwardian (/wiki/Edwardian) elegance in men's fashion, adopting a tight-fitting retro (/wiki/Retro) style that was intended to appeal to traditionalists. This look, originally aimed at the respectable young man about town, was translated into popular fashion as the Teddy boy (/wiki/Teddy_boy) style. The Italian look, popularized by Caraceni (/wiki/Caraceni_(company)) , Brioni (/wiki/Brioni_(fashion)) , and Cifonelli (/wiki/Cifonelli) , was taken up by an entire generation of elegant young lovers, on both sides of the Atlantic. Plaid was very common in 1950s men's fashion, both for shirts and suits, along with the "ducktail" haircut, which was often viewed as a symbol of teenage rebellion and banned in schools. During the second half of the 1950s, there was a general move towards less formal clothing, especially among men's fashion. The fedora (/wiki/Fedora) and Homburg hat (/wiki/Homburg_hat) , as well as trench coats (/wiki/Trench_coat) , disappeared from widespread use (this trend had already begun some years earlier on the more informal West Coast of the US) after having been standard parts of menswear since the 1920s. The designers of Hollywood (/wiki/Cinema_of_the_United_States) created a particular type of glamour for the stars of American film, and outfits worn by the likes of Marilyn Monroe (/wiki/Marilyn_Monroe) , Lauren Bacall (/wiki/Lauren_Bacall) , or Grace Kelly (/wiki/Grace_Kelly) were widely copied. Quantitatively speaking, a costume worn by an actress in a Hollywood movie would have a much bigger audience than the photograph of a dress designed by a couturier illustrated in a magazine read by no more than a few thousand people. Without even trying to keep track of all the Paris styles, its costume designers focused on their own version of classicism, which was meant to be timeless, flattering, and photogenic. Using apparently luxurious materials, such as sequins, chiffon, and fur, the clothes were very simply cut, often including some memorable detail, such as a low-cut back to a dress which was only revealed when the actress turned her back from the camera or some particularly stunning accessory. The most influential and respected designers of Hollywood from the 1930s to the 1950s were Edith Head (/wiki/Edith_Head) , Orry-Kelly (/wiki/Orry-Kelly) , William Travilla (/wiki/William_Travilla) , Jean Louis (/wiki/Jean_Louis) , Travis Banton (/wiki/Travis_Banton) , and Gilbert Adrian (/wiki/Gilbert_Adrian) . Everyday women's clothing during the decade consisted of long coats, hats with small veils, and leather gloves. Knee-length dresses combined with pearl necklaces, which were made instantly popular by First Lady Mamie Eisenhower (/wiki/Mamie_Eisenhower) . Short, permed hair was the standard women's hairstyle of the period. By the end of the decade mass-manufactured, off-the-peg clothing had become much more popular than in the past, granting the general public unprecedented access to fashionable styles. 1960s [ edit ] Main article: 1960s in fashion (/wiki/1960s_in_fashion) Until the 1960s, Paris was considered to be the center of fashion throughout the world. However, between 1960 and 1969 a radical shake-up occurred in the fundamental structure of fashion. From the 1960s onward, there would never be just one single, prevailing trend or fashion but a great plethora of possibilities, indivisibly linked to all the various influences in other areas of people's lives. Prosperity and the emergence of a distinct teenager culture, combined with the counterculture movement, would all have major effects on fashion. After 30 years of conservative clothing styles, the '60s saw a kind of throwback to the 1920s with women once again adopting a childlike look with bobbed haircuts and progressively less modest clothing. At the start of the decade, skirts were knee-length but steadily became shorter and shorter until the mini-skirt emerged in 1965. By the end of the decade they had shot well above the stocking top, making the transition to tights (/wiki/Tights) inevitable. Many of the radical changes in fashion developed in the streets of London, with such gifted designers as Mary Quant (/wiki/Mary_Quant) (known for launching the mini skirt) and Barbara Hulanicki (/wiki/Barbara_Hulanicki) (the founder of the legendary boutique Biba (/wiki/Biba) ). Paris also had its share of new and revolutionary designers, including Pierre Cardin (/wiki/Pierre_Cardin) (known for his visionary and skillfully cut designs), André Courrèges (/wiki/Andr%C3%A9_Courr%C3%A8ges) (known for his futuristic outfits and for launching the mini skirt along with Mary Quant), Yves Saint Laurent (/wiki/Yves_Saint_Laurent_(designer)) (known for his revolutionary yet elegant fashions), and Emanuel Ungaro (/wiki/Emanuel_Ungaro) (known for his imaginative use of color and bold baroque contrasts). In the United States, Rudi Gernreich (/wiki/Rudi_Gernreich) (known for his avant-garde and futuristic designs) and James Galanos (/wiki/James_Galanos) (known for his luxurious ready-to-wear) were also reaching a young audience. The main outlets for these new young fashion designers were small boutiques, selling outfits that were not exactly 'one-offs', but were made in small quantities in a limited range of sizes and colors. However, not all designers took well to the new style and mood. In 1965, Coco Chanel mounted a rearguard action against the exposure of the knee and Balenciaga resolutely continued to produce feminine and conservative designs. The basic shape and style of the time were simple, neat, trim, and colorful. Hats had already begun their decline in the previous decade and were now almost completely extinct except for special occasions. Lower kitten heels were a pretty substitute for stilettos. Pointed toes gave way to chisel-shaped toes in 1961 and to an almond toe in 1963. Flat boots also became popular with very short dresses in 1965 and eventually, they rose up the leg and reached the knee. The '60s for the first time saw a widespread assortment of popular hairstyles, including bobs, pageboy cuts, and beehives. Two notable and influential designers in the 1960s were Emilio Pucci (/wiki/Emilio_Pucci) and Paco Rabanne (/wiki/Paco_Rabanne) . Emilio Pucci's sportswear designs and prints inspired by Op art (/wiki/Op_art) , psychedelia (/wiki/Psychedelia) , and medieval heraldic banners earned him a reputation that extended far beyond the circles of high society. His sleek shift dresses, tunics, and beachwear created a 'Puccimania' that was all part of a movement to liberate the female form and his designs are today synonymous with the 1960s. Francisco Rabaneda Cuervo (later Paco Rabanne) opened his first couture house in 1966 and, from the start, produced resolutely modern designs. Rather than using conventional dress materials, he created garments from aluminum (/wiki/Aluminum) , Rhodoid, and pieces of scrap metal. His designs, as well as being experimental, were also closely in tune with what modern adventurous young women wanted to wear. Among his innovations are the seamless dress made, after much experiment, by spraying vinyl chloride onto a mold, and the low-budget disposable dress made of paper and nylon thread. Rabanne was also the first fashion designer to use black models, which very nearly resulted in his dismissal from the Chambre Syndicale de la Couture Parisienne. The success of his perfume Calandre helped support the less profitable areas of his work, while his utopianism assured him a unique position in the conservative world of haute couture. The principal change in menswear in the 1960s was in the weight of the fabric used. The choice of materials and the method of manufacture produced a suit that, because it was lighter in weight, had a totally different look, with a line that was closer to the natural shape of the body, causing men to look at their figures more critically. The spread of jeans served to accelerate a radical change in the male wardrobe. Young men grew their hair down to their collars and added a touch of color, and even floral motifs, to their shirts. The polo neck never succeeded in replacing the tie, but the adoption of the workman's jacket in rough corduroy, and especially the mao jacket (/wiki/Mao_jacket) proved to be more than simply a political statement. A few futuristic rumblings were set off by Pierre Cardin and Andre Courrèges, but the three-piece suit still survived intact. In the early 1960s there were influential 'partnerships' of celebrities and high-fashion designers, most famously Audrey Hepburn (/wiki/Audrey_Hepburn) with Givenchy (/wiki/Givenchy) , and Jackie Kennedy (/wiki/Jackie_Kennedy) with Oleg Cassini (/wiki/Oleg_Cassini) . Also, many models had a very profound effect on fashion, most notably Twiggy (/wiki/Twiggy) , Veruschka (/wiki/Veruschka) , Jean Shrimpton (/wiki/Jean_Shrimpton) . Early in the decade, culottes were in style and the bikini (/wiki/Bikini) finally came into fashion in 1963. The hippie (/wiki/Hippie) and psychedelic (/wiki/Psychedelia) movements late in the decade also had a strong influence on clothing styles, including bell-bottom jeans (designed by the English tailor Tommy Nutter (/wiki/Tommy_Nutter) , from his Savoy store), tie-dye and batik fabrics, as well as paisley prints. 1970s [ edit ] Main article: 1970s in fashion (/wiki/1970s_in_fashion) Nicknamed the 'me' decade; 'please yourself' was the catchphrase of the 1970s. Some saw it as the end of good taste. The decade began with a continuation of the hippie look of the late 1960s, with kaftans, Indian scarves, and floral-print tunics. Jeans (/wiki/Jeans) remained frayed and bell-bottomed, tie dye (/wiki/Tie_dye) was still popular, and the fashion for unisex mushroomed. An immense movement claiming civil rights for blacks combined with the influence of soul music from the USA created a nostalgia for Africa and African culture (/wiki/African_culture) . A radical chic (/wiki/Radical_chic) emerged, influenced by the likes of James Brown (/wiki/James_Brown) , Diana Ross (/wiki/Diana_Ross) , Angela Davis (/wiki/Angela_Davis) , and the Black Panthers (/wiki/Black_Panthers) , in everything from afro (/wiki/Afro) hairstyles to platform soles. During the 1970s brands greatly increased their share of the international market. Hems began dropping in 1974 to below the knee until finally reaching the lower mid-calf in 1977 and shoulder lines were dropped. After 1975, fashions came to be dominated by the "disco look" which included feathered women's haircuts and on men, the three-piece leisure suit (/wiki/Leisure_suit) . Bell-bottomed pants would remain popular throughout the entire decade. Perhaps the two most innovative fashion designers in 1970s France were Kenzo Takada (/wiki/Kenzo_Takada) and Sonia Rykiel (/wiki/Sonia_Rykiel) . The undisputed star of Parisian fashion in the 1970s, Kenzo drew his inspiration from all over the world, mixing Western and Oriental folk influences with a fantastic joie de vivre (/wiki/Joie_de_vivre) and an instinctive understanding of what his young customers wanted. With his fluid lines, unusual prints, clever accessories, and finery that was hitherto unprecedented in ready-to-wear, he very much turned the fashion world upside down. The queen of figure-hugging knits, in 1974, Sonia Rykiel designed her first pullovers with reversed seams. However, more than that, she created a whole range of clothes that were extremely individual and yet could be worn almost anywhere. The Rykiel style, dominated by fluid knitted garments, dark blacks, rhinestones, long boa-like scarves, and little crocheted hats, conquered the American market, and even to this day, Rykiel is considered by many Americans as the true successor of Chanel. Because of punk (/wiki/Punk_fashion) , London retained a considerable degree of influence over fashion, most significantly in the boutiques of the King's Road, where Vivienne Westwood (/wiki/Vivienne_Westwood) 's boutique, SEX (/wiki/SEX_(boutique)) , which opened in 1971, blew with the prevailing wind. This temple of British iconoclasm centered on fetishistic accessories and ranges of clothing in which black rubber and steel studs were the external signs of underlying sadism. Postmodernist and iconoclastic in essence the punk movement was a direct reaction to the economic situation during the economic depression of the period, the vehicle for a hatred that was more visceral than political. Punk had at its heart a manifesto of creation through disorder. With their ripped T-shirts (/wiki/T-shirt) , Native American (/wiki/Native_Americans_in_the_United_States) hairstyles, Doc Martens (/wiki/Doc_Marten) , bondage trousers, and chains, the punks exported an overall feeling of disgust around the globe. Another popular British style was the resolutely unmodern, feminine, countrified style of clothing popularized by Laura Ashley (/wiki/Laura_Ashley) , which consisted of long flounced skirts and high-necked blouses in traditional floral prints, worn with crocheted shawls. Laura Ashley started out running a small business in Wales (/wiki/Wales) in the mid-1960s and the company continued to expand until the accidental death of its owner in 1985. Laura Ashley was not the only designer to look nostalgically to the past. Fashions based on the 1920s, 30s, 40s, and 50s were popular throughout much of the decade, with Hollywood films like The Godfather (/wiki/The_Godfather) and The Great Gatsby (/wiki/The_Great_Gatsby) , and numerous exhibitions on costume history at the Metropolitan Museum of Art (/wiki/Metropolitan_Museum_of_Art) in New York increasing their popularity. In Japan, the boutiques of Tokyo's fashionable Harajuku (/wiki/Harajuku) district sold many reworked versions of traditional British and American looks. In the United States, the general trend in fashion was towards simplification and longer skirts, although many women reacted negatively to the midi-length, which they felt to be aging. Pants, on the other hand, earned unanimous approval. Jeans profited most from becoming an accepted part of the American fashion scene in the 1970s, their newfound respectability deriving from their inclusion in collections under the heading of sportswear. The new stars of American ready-to-wear adapted the best of what they learned from Europe to the massive American clothing industry. Calvin Klein and Ralph Lauren rose from anonymity more or less simultaneously to tackle the question of designing clothes for the men and women of a new world. Two opposing movements dominated fashion in the U.S during the 1970s. On one hand, there was the tailored, unisex look; on the other hand, a fluid, unstructured style with a strong feeling of 1930s glamor. The most influential American designer of the time, Roy Halston Frowick (known simply as Halston (/wiki/Halston) ), belonged to the latter category. Acquiring celebrity status on the New York scene, his particular talent was in reconciling the made-to-measure garment for the special occasion with concepts of comfort, naturalness, and relaxation. With his kaftans, shirtwaisters, djellabas, ultra-lightweight shift dresses, and tunics worn over shorts and wide-legged pants, he was an icon of the era, and a regular visitor at the VIP room of the Studio 54 (/wiki/Studio_54) after its opening in 1977. Geoffrey Beene (/wiki/Geoffrey_Beene) , praised for his elegant and sophisticated cuts and his use of black and white, was at his most successful in the radically simplified designs at which he excelled. His smart little dresses and well-cut suits in jersey, flannel, and wool were instrumental in discouraging American women from over-accessorizing. Bill Blass (/wiki/Bill_Blass) , who launched his own range in 1962, developed the habit of traveling all over the United States in order to hear for himself what his customers desired. One of the most popular designers of the time, he was almost too successful in fulfilling his customers' wishes. His disciplined style and workmanship were particularly favored by businesswomen and the wives of senior executives. Betsey Johnson (/wiki/Betsey_Johnson) started out designing for the boutique Paraphernalia. Using vinyl and metallic fabrics and putting emphasis on wit, imagination, and independence, she brought an unprecedented spirit of irreverence to New York in the 1970s. In popular fashion, the glam rock (/wiki/Glam_rock) style of clothing, worn by such rock performers as David Bowie (/wiki/David_Bowie) and Marc Bolan (/wiki/Marc_Bolan) , was very influential, particularly in the United Kingdom. The designer Elio Fiorucci (/wiki/Fiorucci) had a very similar look. His boutique in Milan sold such things as brightly colored rubber boots, plastic daisy sandals, fake fur, and Pop Art (/wiki/Pop_Art) -inspired jackets. During the 1970s a new generation of menswear boutiques sprang up, aiming to change the decor, rituals, and customer base of a traditionally 'difficult' trade. To sell fashionable clothes to a young man at the end of the 1960s was still, in many circles, tantamount to questioning his masculinity. Men's appearance changed more in the 1970s than it had done in a whole century. Many of the fashion designers who revolutionized the male look owed a lot of their innovations to Pierre Cardin: narrow shoulders, tight-fitting lines, no tie, no interfacing, zip-up boiler suits, waisted jackets or tunics, sometimes no shirt. Work clothes supplied inspiration for a less formal style, encouraging designers to look beyond the traditional suit and, for example, adopt a unisex look or investigate the massive supply of second-hand clothes. Sometimes this kind of male dressing-down, often denounced as 'hippie', gained formal recognition as a deliberate look. At certain other times, as part of a retro movement, designers introduced a revival of 1930s elegance. The unearthing of old military clothing, preferably khaki and from the United States; English-style shoes; Oxford shirts; immaculate T-shirts; tweed jackets with padded shoulders; brightly-colored V-neck sweaters; cashmere-printed scarves draped around the neck all imposed a certain uniformity on the casual beatnik (/wiki/Beatnik) look of the male wardrobe at the end of the 1970s. Also significant are the developments in Italian fashion that happened during the period. In the course of the 1970s, as a result of its ready-to-wear industry, Milan (/wiki/Milan) confirmed its status as second only to Paris as a center of international fashion. The 'alta moda' preferred Rome, the base of the couturiers Valentino (/wiki/Valentino_SpA) , Capucci (/wiki/Capucci) , and Schön (/wiki/Mila_Sch%C3%B6n) . Capitalizing on the dominant trend of anti-fashion Italy offered a glamor that had nothing to do with the dictates of Parisian haute couture. While profiting from a clearly defined style, Italian fashion was luxurious and easy to wear. The two most influential Italian fashion designers of the time were probably Giorgio Armani (/wiki/Giorgio_Armani) and Nino Cerruti (/wiki/Nino_Cerruti) . Giorgio Armani produced his first collection for women in 1975. From the outset, the line was dynamic, urban, and understated, androgynous in inspiration. Armani offered a restrained style that greatly appealed to the increasing population of women who now had access to the world of work and occupied progressively more senior positions within it. This was only the beginning of a tremendous career, which came to fruition in 1981 when Emporio Armani (/wiki/Emporio_Armani) was launched. In 1957 Nino Cerruti (/wiki/Nino_Cerruti) opened the menswear boutique Hitman in Milan. A man of taste and discernment, in 1976 he presented his first collection for women. Two years later, he launched his first perfume. In linking the career of a successful industrialist with that of a high-quality designer, Cerruti occupied a unique position in Italian ready-to-wear. Late twentieth century [ edit ] During the late 20th century, fashions began to criss-cross international boundaries with rapidity. Popular Western styles were adopted all over the world, and many designers from outside of the West had a profound impact on fashion. Synthetic materials such as Lycra/spandex (/wiki/Spandex) , and viscose became widely used, and fashion, after two decades of looking to the future, once again turned to the past for inspiration. 1980s [ edit ] Main article: 1980s in fashion (/wiki/1980s_in_fashion) The society of the 1980s no longer criticized itself as consumerist, but was, instead, interested in 'the spectacle'. The self-conscious image of the decade was very good for the fashion industry, which had never been quite so à la mode. Fashion shows were transfigured into media-saturated spectaculars and frequently televised, taking high priority in the social calendar. Appearance was related to performance, which was of supreme importance to a whole generation of young urban professionals, whose desire to look the part related to a craving for power. The way in which men and women associated with the latest styles was no more a matter of passive submission but disco music rapidly fell out of favor as the decade began, along with its associated clothing styles. By 1982, the last traces of 1970s fashion were gone. During the 1980s, the mullet became the standard men's haircut and women sported large, square-cut perms although there were many variations of both. Jumpsuits became a popular element of female clothing and on men, skinny neckties and wraparound sunglasses. Also during the '80s, aerobics was in vogue and so brought into style Spandex leggings and headbands. The two French fashion designers who best defined the look of the period were a man and Azzedine Alaia (/wiki/Azzedine_Alaia) . Strongly influenced by his early career in the theater, Thierry Mugler produced fashion designs that combined Hollywood retro and futurism, with rounded hips, sharply accentuated shoulders, and a slight hint of the galactic heroine. Mugler's glamorous dresses were a remarkable success and signified the complete end of the hippy era and its unstructured silhouette. Known for his awe-inspiring combinations, Azzedine Alaia greatly influenced the silhouette of the woman of the 1980s. The master of all kinds of techniques that had previously been known only to haute couture, he experimented with many new and underused materials, such as spandex (/wiki/Spandex) and viscose (/wiki/Viscose) . The finish, simplicity, and sheer sexiness of Alaia's look made women of every generation identify with his seductive style, and during the 1980s he achieved a certain glory and was held in high regard by members of his own profession. Also creating designs very typical of the era were Claude Montana (/wiki/Claude_Montana) , whose imposing, broad-shouldered designs, often made of leather, would not have looked out of place in the futuristic universe of Thierry Mugler, and Christian Lacroix (/wiki/Christian_Lacroix) , who sent shock waves through the world of haute couture, with his flounced skirts, embroidered corselets, bustles, and polka-dotted crinolines which evoked the rhythms of flamenco. A number of promising newcomers entered the fashion scene in the 1980s., an extraordinary technician who once worked for Patou, bewitched both the press and his customers with his 'handkerchief' dresses. Made of squares of fabric, they transpired, when you came to put them on, to be far more complicated than at first appeared. Many a Parisian soirée of the 1980s was enlivened by his dresses, all in a fluid and original style, in which cutting and sewing were kept to a minimum. Chantal Thomas, the queen of sexy stockings and lace, won a devoted following for her seductive underwear and for evening gowns that looked like nightdresses and vice versa. Guy Paulin was one of the first designers to promote a severe, plain, and uncluttered look. His garments were classical in their proportions and made for comfort and simplicity, with their harmonious lines reinforced by a subtle palette of colors and fine materials. Under his own name, Joseph designed luxurious knitwear along classic lines, creating loose, sexy garments in neutral colors. Carolina Herrera (/wiki/Carolina_Herrera) , long regarded as one of the most elegant members of the jet set, in 1981 launched a series of collections aimed at women like herself, featuring impeccably cut clothes of high quality and attractive evening dresses. Japanese designers such as Rei Kawakubo (/wiki/Rei_Kawakubo) and Yohji Yamamoto (/wiki/Yohji_Yamamoto) offered a look that marked a total break with the prevailing fashion image of the time. Flat shoes, no make-up, reserve, modesty, and secrecy were the hallmarks of this modern look. Eventually, it began to include details from the fashions of the past, as Europe's ancient sites were revisited by these anarchists of fashion, whose influence on the shape of clothes, at the end of the 20th-century, became legendary. In American fashion the seductive, clinging style of Donna Karan (/wiki/Donna_Karan) and the casual sophistication of Ralph Lauren (/wiki/Ralph_Lauren) were very influential. A star of the New York social scene, Donna Karan brought a very personal and feminine approach to the severe, sober-colored, casual look that dominated American ready-to-wear. Setting up her own label in 1984, her designs won instant popularity among active urban women who greatly appreciated the understated luxury of her clothes. In 1971 Ralph Lauren opened a boutique for both men and women in Beverly Hills (/wiki/Beverly_Hills) . His aristocratic style at prices the average American could afford created a sensation. For an elite faced with all kinds of avant-garde fashions, it represented a rallying point, endorsing a classic look that had been adopted for an active life. The number one of American ready-to-wear, Lauren was equally successful with his sportswear and jeans, which allowed him to reach the widest possible range of social classes and age groups. Central to the success of a new wave of American sportswear was the Perry Ellis (/wiki/Perry_Ellis) label, established in 1978, which used color and natural fibers to great advantage in its elegant variations on the basics. Norma Kamali (/wiki/Norma_Kamali) , with her short skirts made of sweatshirts, leotards, headbands, and leg warmers, made jogging look fashionable. Kamali also created the popular 'rah-rah skirt'. Also notable is the extreme popularity of the Adidas (/wiki/Adidas) sports label, which achieved an incredible level of street cred in the 1980s, inciting the hip hop group Run DMC (/wiki/Run_DMC) to release the single 'My Adidas' in 1986. The legendary shoe designer Manolo Blahnik (/wiki/Manolo_Blahnik) also rose to fame during the 1980s. The multiplicity of trends that bloomed during the 80s were curtailed by the economic recession that set in at the beginning of the 1990s, largely destroying the optimistic mood that is so advantageous to the fashion industry. 1990s [ edit ] Main article: 1990s in fashion (/wiki/1990s_in_fashion) In the 1990s it was no longer the done thing to follow fashion slavishly, a sharp contrast to the highly a la mode 1970s and 1980s. The phobia of being underdressed was finally completely displaced by the fear of overdressing. Fashion in the 1990s united around a new standard, minimalism (/wiki/Minimalism) , and styles of stark simplicity became the vogue. Despite the best efforts of a few designers to keep the flag for pretty dresses flying, by the end of the decade the notion of ostentatious finery had virtually disappeared. As well as the styling of the product, its promotion in the media became crucial to its success and image. The financial pressures of the decade had a devastating effect on the development of new talent and lessened the autonomy enjoyed by more established designers. Fashion at the end of the 20th century tackled themes that fashion had not previously embraced. These themes included rape, disability, religious violence, death, and body modification. There was a dramatic move away from the sexy styles aimed at the glamorous femme fatale (/wiki/Femme_fatale) of the 1980s, and many designers, taken with a vision of romantic poverty, adopted the style of the poverty-stricken waif, dressed in a stark, perversely sober palette, with a face devoid of make-up (/wiki/Make-up) . Clothes by ready-to-wear retailers such as The Gap (/wiki/Gap_(clothing_retailer)) , Banana Republic (/wiki/Banana_Republic) , and Eddie Bauer (/wiki/Eddie_Bauer) came to the forefront of fashion, managing to tap into the needs of women who simply wanted comfortable, wearable clothes. Retro (/wiki/Retro) clothing inspired by the 1960s and 1970s was popular for much of the 1990s. The famous Italian fashion house, Gucci (/wiki/Gucci) was created in 1921, by Guccio Gucci and was originally a firm that sold luxury leather goods. Under Guccio Gucci's children, by the end of the 1960s the label had expanded to include a plethora of products with a distinctly Latin glamor. However, only in the 1990s, when the Gucci heirs gave up control of the company to Invest Corp., who planned to turn the business around, did it truly begin to enjoy the kind of success it enjoys in the present day. Employing an unknown designer, Tom Ford (/wiki/Tom_Ford) , as design director in 1994, the fashion house was endowed with great prestige, as Ford triggered a tidal wave with his chic and shocking collections, perfumes for men and women, revamped boutiques, and advertising campaigns. In 1998 Gucci is named "European Company of the year" by European Business Press Federation. [14] (#cite_note-14) Today it is the second biggest-selling fashion brand (after LVMH (/wiki/LVMH) ) worldwide with US$7 billion worldwide of revenue in 2006 according to BusinessWeek (/wiki/BusinessWeek) magazine. [15] (#cite_note-15) In the 1990s the designer label Prada (/wiki/Prada) became a true creative force in the fashion industry. The Milanese company was first established in 1923, two years after Gucci, and like Gucci, it was a firm that sold high-quality shoes and leather. It was until the 1980s that Miuccia Prada (/wiki/Miuccia_Prada) , the niece of the company's founder, began to produce ready-to-wear fashion, gaining fame for her subtle, streamlined, yet unquestionably luxurious style, that catered for the privileged young woman who prefers understatement to flamboyant extravagance. In America three of the most influential fashion designers of the time were Michael Kors (/wiki/Michael_Kors) , Marc Jacobs (/wiki/Marc_Jacobs) , and Calvin Klein (/wiki/Calvin_Klein) . Michael Kors set up his own business in 1980. However, it was not until the 1990s that the designer reached the peak of his popularity. His knowledge and consciousness of trends enabled him to produce simple well-cut garments, whose sophistication and elegance appealed to a whole new breed of wealthy American customers drawn to the new vogue for minimalist chic. Marc Jacobs is one of the most notable American designers of the period in that, unlike many American fashion designers in the past, he was not so much the co-ordinator of a mass-produced garment as a designer in the European sense of the word. One of the most promising talents in the fashion industry at the time, the LVMH (Louis Vuitton-Moet Henessy) group offered him the job of designing a line of ready-to-wear to complement the de-luxe products of luggage specialist Louis Vuitton (/wiki/Louis_Vuitton) in the late 1990s. One of the first fashion designers to anticipate the globalization of world markets, the already well-known designer Calvin Klein started to market his fashions, perfumes, and accessories not only right across the US but also in Europe and Asia, achieving an unequaled success. A brilliant artistic director, Klein used carefully constructed advertisements containing images tinted with eroticism to promote his sophisticatedly functional mass-produced designs, which won massive popularity among the urban youth of the 1990s. The group of designers known as the ' Antwerp Six (/wiki/Antwerp_Six) ' (so named because all of them were graduates of the Royal Academy of Fine Arts in Antwerp (/wiki/Antwerp) ), who first emerged in the 1980s, came to prominence in the 1990s. Three of the most influential of the group were Ann Demeulemeester (/wiki/Ann_Demeulemeester) , Dries van Noten (/wiki/Dries_van_Noten) , and Walter Van Beirendonck (/wiki/Walter_Van_Beirendonck) . Ann Demeulemeester, from her first collection in 1991, demonstrated a great deal of confidence and inventiveness. Naturally inclined to understatement, she built her designs on contradictions, introducing contrasting elements into her fluid and streamlined fashions, which appealed to women who dressed, above all, to please themselves. The work of Dries van Noten was founded on a solid mastery of the art of tailoring, to which the young designer added discreet touches of fantasy in a highly personal style. Managing to be both classical and original, his fashions appealed to those who preferred to express their individuality rather than slavishly follow trends. Walter Van Beirendonck, who erupted onto the fashion scene in 1995, produced decidedly futuristic designs under his label W & LT (Wild and Lethal Trash). Deliberately using fabrics developed by the very latest technologies, in violently contrasting colors, he produced clothes that were full of erotic and sadomasochistic references, touched with caustic adolescent humor. His highly distinctive approach related to a resurgence of anti-fashion, but this time an anti-fashion with nothing in the least ethnic about its origins, instead based on science fiction that provided the inspiration for displays of such high-spirited provocation. In Italy, Gianni Versace (/wiki/Gianni_Versace) , with his brilliant, sexy, and colorful designs, and Dolce & Gabbana (/wiki/Dolce_%26_Gabbana) , with their superfeminine and fantastical style, broke away from the serious and sober-minded fashions that dominated during much of the 1990s. The British designer Vivienne Westwood produced many influential and popular collections in the early 1990s, which included outfits inspired by 18th-century courtesans and the Marquis de Sade (/wiki/Marquis_de_Sade) , with rounded hips, corsets, and platform heels. The London-based designer Rifat Ozbek (/wiki/Rifat_Ozbek) was also popular, particularly in New York and Milan. His youthful style, which mixed references to India, Africa, and his native Turkey with clever takes on historical clothing, was reminiscent of hippest nightclubs and the more outrageous street fashions of the time. Rap music was a prominent influence on popular and street fashion during the early and mid-1990s. Followers of hip hop adopted huge baggy jeans, similar to those worn in American prisons, with big patterned shirts and heavy black shoes. The sports label Nike (/wiki/Nike,_Inc.) had great popularity, and materials such as Lycra/spandex (/wiki/Spandex) were increasingly used for sportswear. Increasing eco-awareness and animal rights made even top couture houses such as Chanel introduce fake fur and natural fibers into their collections. 21st century [ edit ] 2000s [ edit ] These paragraphs are an excerpt from 2000s in fashion (/wiki/2000s_in_fashion) . [ edit (https://en.wikipedia.org/w/index.php?title=2000s_in_fashion&action=edit) ] The fashion of the 2000s (/wiki/2000s_in_fashion) is often described as a global mash up (/wiki/Mashup_(culture)) , [16] (#cite_note-2000s_in_fashion_sacurrent-16) where trends saw the fusion of vintage (/wiki/Vintage_clothing) styles, global and ethnic clothing (e.g. boho (/wiki/Boho-chic) ), as well as the fashions (/wiki/Fashion) of numerous music-based subcultures. Hip-hop fashion (/wiki/Hip-hop_fashion) generally was the most popular among young people of both sexes, followed by the retro-inspired indie look (/wiki/Indie_kid) later in the decade. Those usually aged 25 and older adopted a dressy casual style which was popular throughout the decade. Globalization (/wiki/Globalization) also influenced the decade's clothing trends, with the incorporation of Middle Eastern and Asian dress into mainstream European, American, and Australasian fashion. [16] (#cite_note-2000s_in_fashion_sacurrent-16) Furthermore, eco-friendly and ethical clothing, such as recycled fashions were prominent in the decade. [16] (#cite_note-2000s_in_fashion_sacurrent-16) In the early 2000s, many mid and late 1990s fashions (/wiki/1990s_in_fashion) remained fashionable around the globe, while simultaneously introducing newer trends. The later years of the decade saw a large-scale revival of clothing designs primarily from the 1960s, 1970s, and 1980s. 2010s [ edit ] These paragraphs are an excerpt from 2010s in fashion (/wiki/2010s_in_fashion) . [ edit (https://en.wikipedia.org/w/index.php?title=2010s_in_fashion&action=edit) ] The 2010s (/wiki/2010s) were defined by hipster (/wiki/Hipster_(contemporary_subculture)) fashion, athleisure (/wiki/Athleisure) , a revival of austerity-era (/wiki/1940s_fashion) period pieces and alternative fashions, swag-inspired outfits, 1980s (/wiki/1980s_in_fashion) -style neon (/wiki/Neon) streetwear, [17] (#cite_note-17) and unisex 1990s (/wiki/1990s_in_fashion) -style elements influenced by grunge (/wiki/Grunge) [18] (#cite_note-18) [19] (#cite_note-19) and skater fashions (/wiki/Skater_fashion) . [20] (#cite_note-20) The later years of the decade witnessed the growing importance in the western world of social media influencers (/wiki/Social_media_influencer) paid to promote fast fashion (/wiki/Fast_fashion) brands on Pinterest (/wiki/Pinterest) and Instagram (/wiki/Instagram) . [21] (#cite_note-21) [22] (#cite_note-2010s_in_fashion_auto7-22) Popular global fashion brands of the decade included Abercrombie and Fitch (/wiki/Abercrombie_and_Fitch) , Adidas (/wiki/Adidas) , Balenciaga (/wiki/Balenciaga) , Ben Sherman (/wiki/Ben_Sherman) , Burberry (/wiki/Burberry) , Christian Dior (/wiki/Christian_Dior) , Coach (/wiki/Coach_New_York) , DSquared2 (/wiki/DSquared2) , Dorothy Perkins (/wiki/Dorothy_Perkins) , Fashion Nova (/wiki/Fashion_Nova) , Forever 21 (/wiki/Forever_21) , Gucci (/wiki/Gucci) , H&M (/wiki/H%26M) , Hollister (/wiki/Hollister_Co.) , Hugo Boss (/wiki/Hugo_Boss) , Lacoste (/wiki/Lacoste) , Louis Vuitton (/wiki/Louis_Vuitton) , Marks and Spencer (/wiki/Marks_and_Spencer) , Michael Kors (/wiki/Michael_Kors_(brand)) , Monsoon Accessorize (/wiki/Monsoon_Accessorize) , Nike (/wiki/Nike,_Inc.) , Nine West (/wiki/Nine_West) , Off-White (/wiki/Off-White_(company)) , River Island (/wiki/River_Island) , Supreme (/wiki/Supreme_(clothing)) , Topman (/wiki/Topman) , Topshop (/wiki/Topshop) , Uniqlo (/wiki/Uniqlo) , Under Armour (/wiki/Under_Armour) , and Vans (/wiki/Vans) . 2020s [ edit ] This section is an excerpt from 2020s in fashion (/wiki/2020s_in_fashion) . [ edit (https://en.wikipedia.org/w/index.php?title=2020s_in_fashion&action=edit) ] 2021: Natalie Biden (/wiki/Natalie_Biden) wearing a matching cloth COVID-19 mask (/wiki/COVID-19_mask) at the inauguration of Joe Biden (/wiki/Inauguration_of_Joe_Biden) , her grandfather The fashions of the 2020s (/wiki/2020s_in_fashion) represent a departure from 2010s fashion (/wiki/2010s_fashion) and feature a nostalgia (/wiki/Nostalgia) for older aesthetics. [23] (#cite_note-23) They have been largely inspired by styles (/wiki/Fashion) of the late 1990s (/wiki/1990s_in_fashion) to mid-2000s (/wiki/2000s_in_fashion) , 1980s (/wiki/1980s_in_fashion) , and late 1960s (/wiki/1960s_in_fashion) to early 1970s (/wiki/1970s_in_fashion) . [24] (#cite_note-24) [25] (#cite_note-25) [26] (#cite_note-26) [27] (#cite_note-27) [28] (#cite_note-28) Early in the decade, several publications noted the shortened trend and nostalgia cycle in 2020s fashion. [29] (#cite_note-29) [30] (#cite_note-30) [31] (#cite_note-31) [32] (#cite_note-32) [33] (#cite_note-33) Fashion was also shaped by the COVID-19 pandemic (/wiki/COVID-19_pandemic) , which had a major impact on the fashion industry (/wiki/Impact_of_the_COVID-19_pandemic_on_the_fashion_industry) , and led to shifting retail (/wiki/Impact_of_the_COVID-19_pandemic_on_retail) and consumer trends. In the 2020s, many companies, including current fast fashion (/wiki/Fast_fashion) giants such as Shein (/wiki/Shein_(company)) and Temu (/wiki/Temu_(marketplace)) , have been using social media (/wiki/Social_media) platforms such as TikTok (/wiki/TikTok) and Instagram (/wiki/Instagram) as a marketing tool. [34] (#cite_note-34) Marketing strategies involving third parties, particularly influencers (/wiki/Internet_celebrity) and celebrities, have become prominent tactics. E-commerce (/wiki/E-commerce) platforms which promote small businesses, [35] (#cite_note-35) such as Depop (/wiki/Depop) and Etsy (/wiki/Etsy) , grew by offering vintage, homemade, or resold clothing from individual sellers. Thrifting (/wiki/Vintage_clothing) has also exploded in popularity due to it being centered around finding valuable pieces of clothing at a reasonable price. [36] (#cite_note-36) See also [ edit ] Fashion portal (/wiki/Portal:Fashion) Fashion (/wiki/Fashion) Fashion design (/wiki/Fashion_design) Fashion design copyright (/wiki/Fashion_design_copyright) Haute couture (/wiki/Haute_couture) History of western fashion (/wiki/History_of_western_fashion) Deconstruction (fashion) (/wiki/Deconstruction_(fashion)) 2000s in fashion (/wiki/2000s_in_fashion) 2010s in fashion (/wiki/2010s_in_fashion) James Laver (/wiki/James_Laver) List of fashion designers (/wiki/List_of_fashion_designers) List of fashion topics (/wiki/List_of_fashion_topics) Sustainable fashion (/wiki/Sustainable_fashion) References [ edit ] ^ (#cite_ref-1) Rennolds., Milbank, Caroline (1985). Couture, the great designers (1st ed.). New York: Stewart, Tabori & Chang. ISBN (/wiki/ISBN_(identifier)) 0941434516 . OCLC (/wiki/OCLC_(identifier)) 11867044 (https://www.worldcat.org/oclc/11867044) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: multiple names: authors list ( link (/wiki/Category:CS1_maint:_multiple_names:_authors_list) ) ^ (#cite_ref-2) Laver, James (/wiki/Laver,_James) : The Concise History of Costume and Fashion, Abrams, 1979, p. 62; Fernand Braudel (/wiki/Fernand_Braudel) , Civilization and Capitalism, 15th–18th Centuries, Vol 1: The Structures of Everyday Life , p317, William Collins & Sons, London 1981 ^ (#cite_ref-verp_3-0) Véronique Pouillard (2013). "Fashion for all?". Journalism Studies . 14 (5): 716–729. doi (/wiki/Doi_(identifier)) : 10.1080/1461670X.2013.810907 (https://doi.org/10.1080%2F1461670X.2013.810907) . S2CID (/wiki/S2CID_(identifier)) 145654265 (https://api.semanticscholar.org/CorpusID:145654265) . ^ (#cite_ref-4) Roche, Daniel, The culture of clothing: dress and fashion in the ancien regime, Cambridge University Press, Cambridge, 1996[1994] ^ (#cite_ref-5) Clare Haru Crowston, Credit, Fashion, Sex: Economies of Regard in Old Regime France, 2013 ^ (#cite_ref-6) Stegemeyer, Anne (1988). Who's Who In Fashion (Second ed.). New York: Fairchild Publications. ISBN (/wiki/ISBN_(identifier)) 0870055747 . ^ (#cite_ref-7) Ashelford, Jane, The art of dress: clothes and society, 1500–1914, National Trust, London, 1996 ^ (#cite_ref-8) Valerie Steele: Women of Fashion: Twentieth-century Designers, Rizzoli International, 1991 ^ (#cite_ref-9) McNealy, Marion. "The S-Bend in Context" (http://foundationsrevealed.com/index-of-articles/free/intermediate/180-the-s-bend-in-context) . Foundations Revealed . Retrieved 2 February 2018 . ^ (#cite_ref-10) Bolton, Authors: Harold Koda, Andrew. "Paul Poiret (1879–1944) | Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art" (https://www.metmuseum.org/toah/hd/poir/hd_poir.htm) . The Met's Heilbrunn Timeline of Art History . Retrieved 2017-12-15 . {{ cite web (/wiki/Template:Cite_web) }} : CS1 maint: multiple names: authors list ( link (/wiki/Category:CS1_maint:_multiple_names:_authors_list) ) ^ (#cite_ref-fashion_kyoto_11-0) Kogo, Reiko (2014). Fashion: The Collection of the Kyoto Institute; A History from the 18th to the 20th Century (2nd ed.). Taschen. p. 287. ^ (#cite_ref-12) Brenda., Polan (2009). The great fashion designers . Tredre, Roger. (English ed.). Oxford: Berg Publishers. ISBN (/wiki/ISBN_(identifier)) 9780857851741 . OCLC (/wiki/OCLC_(identifier)) 721907453 (https://www.worldcat.org/oclc/721907453) . ^ (#cite_ref-13) "How did WW2 change the way people dressed?" (https://www.bbc.com/news/magazine-31719704) . BBC News . 2015-03-05 . Retrieved 2017-04-21 . ^ (#cite_ref-14) "Gucci History- 1990s" (https://web.archive.org/web/20120822112205/http://www.gucci.com/us/worldofgucci/articles/history-1990) . Gucci. 2012. Archived from the original (http://www.gucci.com/us/worldofgucci/articles/history-1990) on August 22, 2012 . Retrieved June 28, 2012 . ^ (#cite_ref-15) "Best Global Brands: Gucci" (https://web.archive.org/web/20060901110455/http://images.businessweek.com/ss/06/07/top_brands/source/46.htm) . images.businessweek.com . 2012. Archived from the original (http://images.businessweek.com/ss/06/07/top_brands/source/46.htm) on September 1, 2006 . Retrieved June 28, 2012 . ^ Jump up to: a b c Rindfuss, Bryan (30 December 2009). "Arts: What ought to wear" (http://www.sacurrent.com/arts/story.asp?id=70804) . San Antionio Current . Retrieved 30 November 2011 . ^ (#cite_ref-17) "From the 2010s to the '80s and '90s, Modern Streetwear is a Fashion Rewind" (https://nyunews.com/uta/fringe-spring-2019-one-last-dance/from-the-2010s-to-the-80s-and-90s-modern-streetwear-is-a-fashion-rewind/) . April 25, 2019. ^ (#cite_ref-18) "Return of 'Teen Spirit'? Grunge is back in fashion (and that's not a bad thing)" (http://www.today.com/style/return-teen-spirit-grunge-back-fashion-thats-not-bad-thing-6C10984421) . August 23, 2013 . Retrieved July 28, 2014 . ^ (#cite_ref-19) Gautama, Madhulika (July 22, 2014). "Grunge is the way to go" (http://www.thehindu.com/features/metroplus/grunge-is-the-way-to-go/article6238366.ece) . The Hindu . Chennai, India . Retrieved July 28, 2014 . ^ (#cite_ref-20) "The Fall Trend We Can Really Get Behind" (https://www.askmen.com/fashion/galleries/baseball-jackets.html) . AskMen . ^ (#cite_ref-21) Thomas, Daniel (December 21, 2018). "How Instagram influencers would tackle the retail crisis" (https://www.bbc.com/news/business-46628213) . BBC. ^ (#cite_ref-2010s_in_fashion_auto7_22-0) Harrison, Emma (November 7, 2018). "How would Instagram stars save M&S?" (https://www.bbc.com/news/uk-46122488) . BBC. ^ (#cite_ref-23) "Now-stalgia: why fashion is going back to the future | Fashion | The Guardian" (https://amp.theguardian.com/fashion/2020/sep/09/now-stalgia-why-fashion-is-going-back-to-the-future) . amp.theguardian.com . Retrieved 2023-03-24 . ^ (#cite_ref-24) Malivindi, Diandra, ed. (27 May 2020). "9 Trends From The 2000s That Are Surprisingly Back In Style" (https://www.instylemag.com.au/2000s-fashion-trends-back-in-style) . InStyle (/wiki/InStyle) . Archived (https://web.archive.org/web/20200926131900/https://www.instylemag.com.au/2000s-fashion-trends-back-in-style) from the original on 26 September 2020 . Retrieved 25 September 2020 . ^ (#cite_ref-25) "Gen Z Is Bringing the 2000s Back…Here's How Brands Can Keep Up" (https://www.ypulse.com/article/2020/02/18/gen-z-is-bringing-the-2000s-back-heres-how-brands-can-keep-up/) . YPulse. 18 February 2020. Archived (https://web.archive.org/web/20200926131858/https://www.ypulse.com/article/2020/02/18/gen-z-is-bringing-the-2000s-back-heres-how-brands-can-keep-up/) from the original on 26 September 2020 . Retrieved 25 September 2020 . ^ (#cite_ref-26) Shenoy, Seline (23 September 2021). "The '80s are back: 10 '80s fashion trends that are cool again" (https://kdvr.com/reviews/br/the-80s-are-back-10-80s-fashion-trends-that-are-cool-again/) . FOX31 Denver . Retrieved 2022-12-02 . ^ (#cite_ref-27) "These 11 Fashion Trends Are Going Viral This Summer — But They're Actually From the '70s" (https://www.instyle.com/fashion/clothing/70s-summer-fashion-trends) . InStyle . Retrieved 2022-12-02 . ^ (#cite_ref-28) Flynn, Grace (2022-05-26). "A 60s Summer: The Emerging 1960s Fashion Trends of 2022" (https://web.archive.org/web/20221202155302/https://themarketherald.com.au/fancy/1960s-fashion-trends-of-2022/) . The Market Herald Fancy . Archived from the original (https://themarketherald.com.au/fancy/1960s-fashion-trends-of-2022/) on 2022-12-02 . Retrieved 2022-12-02 . ^ (#cite_ref-29) Ewens, Hannah (2022-12-14). "Trends Used to Come Back Round Every 20 Years. Not Anymore" (https://www.vice.com/en/article/bvmkm8/how-the-20-year-trend-cycle-collapsed) . Vice . Retrieved 2023-05-28 . ^ (#cite_ref-30) "Fashion has reached peak trendcore, and we're all tired" (https://i-d.vice.com/en/article/y3vj8m/trendcore-tiktok) . i-d.vice.com . Retrieved 2023-05-28 . ^ (#cite_ref-31) "Why is Gen Z so Obsessed with Y2K Fashion? – Early 2000s Trends Millennials '90s Nostalgia" (https://www.lofficielusa.com/fashion/gen-z-y2k-millennial-90s-fashion-nostalgia) . L'Officiel USA . Retrieved 2023-05-28 . ^ (#cite_ref-32) Ulaby, Neda (March 1, 2022). "From Tumblrcore to 2014core, the nostalgia loop is getting smaller and faster" (https://www.npr.org/2022/03/01/1081115609/from-tumblrcore-to-2014core-the-nostalgia-loop-is-getting-smaller-and-faster) . NPR . Retrieved May 28, 2023 . ^ (#cite_ref-33) "Our obsession with nostalgia is driving a trend revival spiral" (https://theface.com/culture/the-revival-spiral-1990s-2000s-noughties-nostalgia-indie-sleaze-y2k-tiktok-fashion-dark-academia-regencycore-the-sopranos-supreme) . The Face . 23 February 2022 . Retrieved 2023-05-07 . ^ (#cite_ref-34) Ahmad, Nawaz; Salman, Atif; Ashiq, Rubab (April 30, 2015). "The Impact of Social Media on Fashion Industry: Empirical Investigation from Karachiites" (https://papers.ssrn.com/abstract=2603275) . SSRN (/wiki/SSRN_(identifier)) 2603275 (https://papers.ssrn.com/sol3/papers.cfm?abstract_id=2603275) – via papers.ssrn.com. ^ (#cite_ref-35) Marvar, Alexandra (2021-07-28). "The teen tycoons of Depop" (https://www.theverge.com/22580446/depop-online-vintage-sales-business-algorithm-dangers) . The Verge . Retrieved 2021-11-25 . ^ (#cite_ref-36) "For Gen Z, Thrifting Isn't Just a Way to Shop, It's a Lifestyle" (https://www.refinery29.com/en-us/2020/10/10014753/thrifting-gen-z-thrift-shopping-trend) . Further reading [ edit ] Breward, Christopher, The Culture of Fashion: a new history of fashionable dress , Manchester: Manchester University Press, 2003, ISBN (/wiki/ISBN_(identifier)) 978-0719041259 (/wiki/Special:BookSources/978-0719041259) Cole, Daniel James and Nancy Deihl, The History of Modern Fashion , London: Laurence King, 2015, ISBN (/wiki/ISBN_(identifier)) 978-1780676036 (/wiki/Special:BookSources/978-1780676036) Hollander, Anne, Seeing through Clothes , Berkeley: University of California Press, 1993, ISBN (/wiki/ISBN_(identifier)) 978-0520082311 (/wiki/Special:BookSources/978-0520082311) Hollander, Anne, Sex and Suits: the evolution of modern dress , New York: Knopf, 1994, ISBN (/wiki/ISBN_(identifier)) 978-0679430964 (/wiki/Special:BookSources/978-0679430964) Hollander, Anne, Feeding the Eye: essays , New York: Farrar, Straus, and Giroux, 1999, ISBN (/wiki/ISBN_(identifier)) 978-0374282011 (/wiki/Special:BookSources/978-0374282011) Hollander, Anne, Fabric of Vision: dress and drapery in painting , London: National Gallery, 2002, ISBN (/wiki/ISBN_(identifier)) 978-0300094190 (/wiki/Special:BookSources/978-0300094190) Kawamura, Yuniya, Fashion-ology: an introduction to Fashion Studies , Oxford and New York: Berg, 2005, ISBN (/wiki/ISBN_(identifier)) 1-85973-814-1 (/wiki/Special:BookSources/1-85973-814-1) Lipovetsky, Gilles (translated by Catherine Porter), The Empire of Fashion: dressing modern democracy , Woodstock: Princeton University Press, 2002, ISBN (/wiki/ISBN_(identifier)) 978-0691102627 (/wiki/Special:BookSources/978-0691102627) Martin, Richard (1998). American Ingenuity: Sportswear 1930s–1970s . New York: The Metropolitan Museum of Art. ISBN (/wiki/ISBN_(identifier)) 0870998633 . Martin, Richard (1994). Madame Grès (http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/87602) . New York: The Metropolitan Museum of Art. ISBN (/wiki/ISBN_(identifier)) 9780870997273 . Martin, Richard (1994). Silk Dresses (https://jeem.pk/collections/silk-dresses) . New York: The Metropolitan Museum of Art. ISBN (/wiki/ISBN_(identifier)) 9780870997273 . McDermott, Kathleen, Style for All: why fashion, invented by kings, now belongs to all of us (An illustrated history) , 2010, ISBN (/wiki/ISBN_(identifier)) 978-0-557-51917-0 (/wiki/Special:BookSources/978-0-557-51917-0) — Many hand-drawn color illustrations, extensive annotated bibliography and reading guide Perrot, Philippe (translated by Richard Bienvenu), Fashioning the Bourgeoisie: a history of clothing in the nineteenth century , Princeton NJ: Princeton University Press, 1994, ISBN (/wiki/ISBN_(identifier)) 978-0691000817 (/wiki/Special:BookSources/978-0691000817) Przybyszewski, Linda (2016). The Lost Art of Dress: The Women Who Once Made America Stylish . Basic Books. ISBN (/wiki/ISBN_(identifier)) 978-0465066865 . Steele, Valerie, Paris Fashion: a cultural history (second edition, revised and updated), Oxford: Berg, 1998, ISBN (/wiki/ISBN_(identifier)) 978-1859739730 (/wiki/Special:BookSources/978-1859739730) Steele, Valerie, Fifty Years of Fashion: new look to now , New Haven: Yale University Press, 2000, ISBN (/wiki/ISBN_(identifier)) 978-0300087383 (/wiki/Special:BookSources/978-0300087383) Steele, Valerie, Encyclopedia of Clothing and Fashion , Detroit: Thomson Gale, 2005 v t e Fashion (/wiki/Fashion) articles Index of fashion articles (/wiki/Index_of_fashion_articles) General Environmental impact of fashion (/wiki/Environmental_impact_of_fashion) Fashion accessory (/wiki/Fashion_accessory) Fashion design (/wiki/Fashion_design) Fashion design copyright (/wiki/Fashion_design_copyright) Fashion matrix (/wiki/Fashion_matrix) Fashion museum (/wiki/Fashion_museum) Fashion plate (/wiki/Fashion_plate) Fashion tourism (/wiki/Fashion_tourism) Semiotics of fashion (/wiki/Semiotics_of_fashion) History 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(/wiki/Fashion_journalism) Fashion law (/wiki/Fashion_law) Fashion photography (/wiki/Fashion_photography) Fashion merchandising (/wiki/Fashion_merchandising) Fast fashion (/wiki/Fast_fashion) in China (/wiki/Fast_fashion_in_China) Red carpet fashion (/wiki/Red_carpet_fashion) Social media in the fashion industry (/wiki/Social_media_in_the_fashion_industry) Sweatshop (/wiki/Sweatshop) Trickle-up fashion (/wiki/Trickle-up_fashion) Traditional clothing Ceremonial (/wiki/Ceremonial_dress) Court (/wiki/Court_dress) Diplomatic (/wiki/Diplomatic_uniform) Academic (/wiki/Academic_dress) Military (/wiki/Military_uniform) Full (/wiki/Full_dress_uniform) Mess (/wiki/Mess_dress_uniform) Service (/wiki/Service_dress_uniform) Sailor (/wiki/Sailor_suit) Combat (/wiki/Combat_uniform) Folk (/wiki/Folk_costume) Western dress codes (/wiki/Western_dress_codes) Formal (/wiki/Formal_wear) Morning dress (/wiki/Morning_dress) White tie (/wiki/White_tie) Ball gown (/wiki/Ball_gown) Semi-formal (/wiki/Semi-formal_wear) Black lounge suit (/wiki/Black_lounge_suit) Black tie (/wiki/Black_tie) Evening gown (/wiki/Evening_gown) Informal (/wiki/Informal_wear) Suit (/wiki/Suit) Cocktail dress (/wiki/Cocktail_dress) Pantsuit (/wiki/Pantsuit) Religious (/wiki/Religious_clothing) Christian (/wiki/Christian_clothing) Jewish (/wiki/Jewish_religious_clothing) Islamic (/wiki/Islamic_fashion) Modest fashion (/wiki/Modest_fashion) Casual (/wiki/Casual_wear) Smart casual (/wiki/Smart_casual) British country clothing (/wiki/British_country_clothing) Business casual (/wiki/Business_casual) Chic (/wiki/Chic) Cruise collection (/wiki/Cruise_collection) Preppy (/wiki/Preppy) Ivy League (/wiki/Ivy_League_(clothes)) Mod (/wiki/Mod_(subculture)) Sloane Ranger (/wiki/Sloane_Ranger) Teddy Boys (/wiki/Teddy_Boys) Young fogey (/wiki/Young_fogey) Street fashion (/wiki/Street_fashion) Streetwear (/wiki/Streetwear) Hip hop (/wiki/Hip_hop_fashion) Hippie (/wiki/Hippie#Art_and_fashion) Hipster (/wiki/Hipster_(contemporary_subculture)) Sportswear (/wiki/Sportswear) Athleisure (/wiki/Athleisure) Gorpcore (/wiki/Gorpcore) Sportswear fashion (/wiki/Sportswear_(fashion)) Surfwear (/wiki/Surfwear) Ghetto fabulous (/wiki/Ghetto_fabulous) Bling-bling (/wiki/Bling-bling) Vintage fashion (/wiki/Vintage_clothing) Alternative (/wiki/Alternative_fashion) Androgyny (/wiki/Androgyny_in_fashion) Bohemian (/wiki/Bohemian_style) Emo (/wiki/Emo) Fetish (/wiki/Fetish_fashion) Gothic (/wiki/Gothic_fashion) Lolita (/wiki/Lolita_fashion) Queer (/wiki/Queer_fashion) Skinhead (/wiki/Skinhead) Steampunk (/wiki/Steampunk_fashion) Thrift store chic (/wiki/Thrift_store_chic) Rocker (/wiki/Rocker_(subculture)) Greaser (/wiki/Greaser_(subculture)) Glam (/wiki/Glam_rock) Grunge (/wiki/Grunge_fashion) Heavy metal (/wiki/Heavy_metal_fashion) Punk (/wiki/Punk_fashion) Skate (/wiki/Skate_punk) Rockabilly (/wiki/Rockabilly) By country American fashion (/wiki/Fashion_in_the_United_States) Canadian fashion (/wiki/Canadian_fashion) Chinese fashion (/wiki/Chinese_fashion) Filipino fashion (/wiki/Fashion_in_the_Philippines) French fashion (/wiki/French_fashion) German fashion (/wiki/German_fashion) Indian fashion (/wiki/Fashion_in_India) Iranian fashion (/wiki/Fashion_in_Iran) Israeli fashion (/wiki/Israeli_fashion) Italian fashion (/wiki/Italian_fashion) History (/wiki/History_of_Italian_fashion) Japanese fashion (/wiki/Japanese_street_fashion) Nigerian fashion (/wiki/Fashion_in_Nigeria) Russian fashion (/wiki/Russian_fashion) South Korean fashion (/wiki/Fashion_in_South_Korea) Swedish fashion (/wiki/Swedish_fashion) Thai fashion (/wiki/History_of_Thai_clothing) Vietnamese clothing (/wiki/Vietnamese_clothing) Fashion activism (/wiki/Fashion_activism) Anti-fashion (/wiki/Anti-fashion) Anti-sweatshop movement (/wiki/Anti-sweatshop_movement) Circular fashion (/wiki/Circular_fashion) Sustainable fashion (/wiki/Sustainable_fashion) Slow fashion (/wiki/Slow_fashion) Trashion (/wiki/Trashion) Zero-waste fashion (/wiki/Zero-waste_fashion) See also Ballet and fashion (/wiki/Ballet_and_fashion) Capsule wardrobe (/wiki/Capsule_wardrobe) Chinoiserie in fashion (/wiki/Chinoiserie_in_fashion) Dress code (/wiki/Dress_code) Undress (/wiki/Undress_code) Music and fashion (/wiki/Music_and_fashion) Fashion victim (/wiki/Fashion_victim) Fashion portal (/wiki/Portal:Fashion) v t e Timeline (/wiki/Timeline_of_clothing_and_textiles_technology) of clothing and fashion History of clothing and textiles (/wiki/History_of_clothing_and_textiles) History of fashion design Ancient (/wiki/Clothing_in_the_ancient_world) Prehistory of nakedness and clothing (/wiki/Prehistory_of_nakedness_and_clothing) China (/wiki/Popular_fashion_in_ancient_China) Han Chinese (/wiki/Hanfu) Shu (/wiki/Clothing_in_ancient_Shu) Egyptian (/wiki/Clothing_in_ancient_Egypt) Inuit (/wiki/Inuit_clothing) Biblical (/wiki/Biblical_clothing) Greek (/wiki/Clothing_in_ancient_Greece) Roman (/wiki/Clothing_in_ancient_Rome) Thracian (/wiki/Thracian_clothing) Middle Ages Anglo-Saxon (/wiki/Anglo-Saxon_dress) Byzantine (/wiki/Byzantine_dress) Chinese Liao (/wiki/Fashion_in_the_Liao_dynasty) Jurchen Jin (/wiki/Fashion_in_the_Jurchen_Jin_dynasty) Yuan (/wiki/Fashion_in_the_Yuan_dynasty) Western Xia (/wiki/Fashion_in_Western_Xia) English (/wiki/English_medieval_clothing) Europe 400s–1000s (/wiki/Early_medieval_European_dress) 1100s (/wiki/1100%E2%80%931200_in_European_fashion) 1200s (/wiki/1200%E2%80%931300_in_European_fashion) 1300s (/wiki/1300%E2%80%931400_in_European_fashion) 1400s (/wiki/1400%E2%80%931500_in_European_fashion) Korean (/wiki/Hanbok#History) Ottoman (/wiki/Ottoman_clothing) Tocharian (/wiki/Tocharian_clothing) Vietnamese (/wiki/Vietnamese_clothing#Lý_dynasty_to_Trần_dynasty_(1009–1400)) 1500s–1820s Western fashion 1500–1550 (/wiki/1500%E2%80%931550_in_European_fashion) 1550–1600 (/wiki/1550%E2%80%931600_in_European_fashion) 1600–1650 (/wiki/1600%E2%80%931650_in_Western_fashion) 1650–1700 (/wiki/1650%E2%80%931700_in_Western_fashion) 1700–1750 (/wiki/1700%E2%80%931750_in_Western_fashion) 1750–1775 (/wiki/1750%E2%80%931775_in_Western_fashion) 1775–1795 (/wiki/1775%E2%80%931795_in_Western_fashion) 1795–1820 (/wiki/1795%E2%80%931820_in_Western_fashion) Directoire style (/wiki/Directoire_style) 1820s (/wiki/1820s_in_Western_fashion) 1830s–1910s Western fashion Victorian (/wiki/Victorian_fashion) 1830s (/wiki/1830s_in_Western_fashion) 1840s (/wiki/1840s_in_Western_fashion) 1850s (/wiki/1850s_in_Western_fashion) 1860s (/wiki/1860s_in_Western_fashion) 1870s (/wiki/1870s_in_Western_fashion) 1880s (/wiki/1880s_in_Western_fashion) 1890s (/wiki/1890s_in_Western_fashion) Edwardian (/wiki/Edwardian_era#Fashion) 1900s (/wiki/1900s_in_Western_fashion) 1910s (/wiki/1910s_in_Western_fashion) 1920s–1950s Western fashion Suffrage Movement period (/wiki/Women%27s_suffrage_and_Western_women%27s_fashion_through_the_early_20th_century) 1920s (/wiki/1920s_in_Western_fashion) 1930–1945 (/wiki/1930%E2%80%931945_in_Western_fashion) 1945–1960 (/wiki/1945%E2%80%931960_in_Western_fashion) 1960s-1990s fashion 1960s (/wiki/1960s_in_fashion) 1970s (/wiki/1970s_in_fashion) 1980s (/wiki/1980s_in_fashion) 1990s (/wiki/1990s_in_fashion) 2000–present fashion 2000s (/wiki/2000s_in_fashion) 2010s (/wiki/2010s_in_fashion) 2020s (/wiki/2020s_in_fashion) impact of the COVID-19 pandemic (/wiki/Impact_of_the_COVID-19_pandemic_on_the_fashion_industry) By country and region Indian subcontinent (/wiki/History_of_clothing_in_the_Indian_subcontinent) Italy (/wiki/History_of_Italian_fashion) Japan (/wiki/Japanese_clothing#History) Meiji (/wiki/Japanese_clothing_during_the_Meiji_period) Thailand (/wiki/History_of_Thai_clothing) Western world (/wiki/History_of_Western_fashion) By clothing Bikini (/wiki/History_of_the_bikini) Corset (/wiki/History_of_corsets) Hide (/wiki/History_of_hide_materials) Swimwear (/wiki/History_of_swimwear) v t e Clothing (/wiki/Clothing) History (/wiki/History_of_clothing_and_textiles) Industry (/wiki/Clothing_industry) Technology (/wiki/Clothing_technology) Terminology (/wiki/Clothing_terminology) Timeline (/wiki/Timeline_of_clothing_and_textiles_technology) Headwear (/wiki/Headgear) Beret (/wiki/Beret) Cap (/wiki/Cap) baseball (/wiki/Baseball_cap) flat (/wiki/Flat_cap) knit (/wiki/Knit_cap) Hat (/wiki/Hat) boater (/wiki/Boater) bowler (/wiki/Bowler_hat) fedora (/wiki/Fedora) homburg (/wiki/Homburg_hat) top (/wiki/Top_hat) Helmet (/wiki/Helmet) Hood (/wiki/Hood_(headgear)) Kerchief (/wiki/Kerchief) Mask (/wiki/Mask) Turban (/wiki/Turban) Veil (/wiki/Veil) Neckwear (/wiki/Neckwear) Bands (/wiki/Bands_(neckwear)) Choker (/wiki/Choker) Clerical collar (/wiki/Clerical_collar) Lavallière (/wiki/Pussy_bow) Neckerchief (/wiki/Neckerchief) Neck gaiter (/wiki/Neck_gaiter) Necktie (/wiki/Necktie) ascot (/wiki/Ascot_tie) bolo (/wiki/Bolo_tie) bow (/wiki/Bow_tie) kipper (/wiki/Kipper_tie) school (/wiki/School_tie) stock (/wiki/Stock_tie) Scarf (/wiki/Scarf) Tippet (/wiki/Tippet) Tops (/wiki/Top_(clothing)) Blouse (/wiki/Blouse) cache-cœur (/wiki/Cache-c%C5%93ur) crop top (/wiki/Crop_top) halterneck (/wiki/Halterneck) tube top (/wiki/Tube_top) Cycling (/wiki/Cycling_jersey) Kurta (/wiki/Kurta) Mantle (/wiki/Mantle_(clothing)) Shirt (/wiki/Shirt) dress (/wiki/Dress_shirt) Henley (/wiki/Henley_shirt) polo (/wiki/Polo_shirt) sleeveless (/wiki/Sleeveless_shirt) T (/wiki/T-shirt) Sweater (/wiki/Sweater) cardigan (/wiki/Cardigan_(sweater)) guernsey (/wiki/Guernsey_(clothing)) hoodie (/wiki/Hoodie) jersey (/wiki/Jersey_(clothing)) polo neck (/wiki/Polo_neck) shrug (/wiki/Shrug_(clothing)) sweater vest (/wiki/Sweater_vest) twinset (/wiki/Twinset) Waistcoat (/wiki/Waistcoat) Trousers (/wiki/Trousers) Bell-bottoms (/wiki/Bell-bottoms) Bondage (/wiki/Bondage_pants) Capri (/wiki/Capri_pants) Cargo (/wiki/Cargo_pants) Chaps (/wiki/Chaps) Formal (/wiki/Formal_trousers) Go-to-hell (/wiki/Go-to-hell_pants) High water (/wiki/High-rise_(fashion)) Lowrise (/wiki/Low-rise_(fashion)) Jeans (/wiki/Jeans) Jodhpurs (/wiki/Jodhpurs) Overalls (/wiki/Overalls) Palazzo (/wiki/Palazzo_pants) Parachute (/wiki/Parachute_pants) Pedal pushers (/wiki/Pedal_pushers) Phat (/wiki/Phat_pants) Shorts (/wiki/Shorts) Bermuda (/wiki/Bermuda_shorts) dycling (/wiki/Cycling_shorts) dolphin (/wiki/Dolphin_shorts) gym (/wiki/Gym_shorts) hotpants (/wiki/Hotpants) running (/wiki/Running_shorts) Slim-fit (/wiki/Slim-fit_pants) Sweatpants (/wiki/Sweatpants) Windpants (/wiki/Windpants) Yoga pants (/wiki/Yoga_pants) Suits (/wiki/Suit) and uniforms (/wiki/Uniform) Ceremonial dress (/wiki/Ceremonial_dress) academic (/wiki/Academic_dress) court (/wiki/Court_dress) diplomatic (/wiki/Diplomatic_uniform) Folk (/wiki/Folk_costume) Jodhpuri (/wiki/Jodhpuri) Jumpsuit (/wiki/Jumpsuit) Military (/wiki/Military_uniform) full (/wiki/Full_dress_uniform) mess (/wiki/Mess_dress_uniform) service (/wiki/Service_dress_uniform) sailor (/wiki/Sailor_suit) combat (/wiki/Combat_uniform) Pantsuit (/wiki/Pantsuit) Religious (/wiki/Religious_clothing) cassock (/wiki/Cassock) clerical (/wiki/Clerical_clothing) vestment (/wiki/Vestment) School (/wiki/School_uniform) Prison (/wiki/Prison_uniform) Workwear (/wiki/Workwear) boilersuit (/wiki/Boilersuit) cleanroom (/wiki/Cleanroom_suit) hazmat (/wiki/Hazmat_suit) space (/wiki/Space_suit) scrubs (/wiki/Scrubs_(clothing)) Dresses (/wiki/Dress) and gowns (/wiki/Gown) Formal, semi- formal, informal Backless (/wiki/Backless_dress) Bouffant gown (/wiki/Bouffant_gown) Coatdress (/wiki/Coatdress) Cocktail (/wiki/Cocktail_dress) little black (/wiki/Little_black_dress) Evening (/wiki/Evening_gown) ball gown (/wiki/Ball_gown) debutante (/wiki/Debutante_dress) Plain (/wiki/Plain_dress) Prairie (/wiki/Prairie_dress) Princess line (/wiki/Princess_line) Strapless (/wiki/Strapless_dress) Wedding (/wiki/Wedding_dress) Wrap (/wiki/Wrap_dress) Casual House (/wiki/House_dress) Jumper (/wiki/Jumper_(dress)) Romper suit (/wiki/Romper_suit) Sheath (/wiki/Sheath_dress) Shirtdress (/wiki/Shirtdress) Slip (/wiki/Slip_dress) Sundress (/wiki/Sundress) Skirts (/wiki/Skirt) A-line (/wiki/A-line_(clothing)) Ballerina (/wiki/Ballerina_skirt) Denim (/wiki/Denim_skirt) Men's (/wiki/Men%27s_skirts) Miniskirt (/wiki/Miniskirt) Pencil (/wiki/Pencil_skirt) Prairie (/wiki/Prairie_skirt) Rah-rah (/wiki/Rah-rah_skirt) Sarong (/wiki/Sarong) Skort (/wiki/Skort) Tutu (/wiki/Tutu_(clothing)) Wrap (/wiki/Wrap_(clothing)) Underwear (/wiki/Underwear) and lingerie (/wiki/Lingerie) Top Bra (/wiki/Bra) Camisole (/wiki/Camisole) Undershirt (/wiki/Undershirt) Bottom Diaper (/wiki/Diaper) Training pants (/wiki/Training_pants) Leggings (/wiki/Leggings) Panties (/wiki/Panties) Plastic pants (/wiki/Plastic_pants) Slip (/wiki/Slip_(clothing)) Thong (/wiki/Thong) Underpants (/wiki/Underpants) boxer briefs (/wiki/Boxer_briefs) boxer shorts (/wiki/Boxer_shorts) briefs (/wiki/Briefs) Full Bodysuit, adult (/wiki/Bodysuit) Bodysuit, infant (/wiki/Infant_bodysuit) Long underwear (/wiki/Long_underwear) See-through (/wiki/See-through_clothing) Teddy (/wiki/Teddy_(garment)) Coats (/wiki/Coat) and outerwear (/wiki/List_of_outerwear) Overcoats (/wiki/Overcoat) Car (/wiki/Car_coat) Chesterfield (/wiki/Chesterfield_coat) Covert (/wiki/Covert_coat) Duffel (/wiki/Duffel_coat) Duster (/wiki/Duster_(clothing)) Greatcoat (/wiki/Greatcoat) British Warm (/wiki/British_Warm) Guards Coat (/wiki/Guards_Coat) Greca (/wiki/Greca_(clothing)) Over-frock (/wiki/Over-frock_coat) Riding (/wiki/Riding_coat) shadbelly (/wiki/Shadbelly) Trench (/wiki/Trench_coat) Ulster (/wiki/Ulster_coat) Cloak (/wiki/Cloak) opera (/wiki/Opera_cloak) Paletot (/wiki/Paletot) Pea (/wiki/Pea_coat) Polo (/wiki/Polo_coat) Raincoat (/wiki/Raincoat) Mackintosh (/wiki/Mackintosh) Suit coats Frock coat (/wiki/Frock_coat) bekishe (/wiki/Bekishe) rekel (/wiki/Rekel) Mess jacket (/wiki/Mess_jacket) Suit jacket (/wiki/Suit_jacket) Blazer (/wiki/Blazer) smoking (/wiki/Smoking_jacket) sports (/wiki/Sport_coat) Teba (/wiki/Teba_jacket) Tailcoat (/wiki/Tailcoat) dress (/wiki/White_tie#Dress_coat) morning (/wiki/Morning_dress#Morning_coat) Other Apron (/wiki/Apron) pinafore (/wiki/Pinafore) Blouson (/wiki/Blouson) Cagoule (/wiki/Cagoule) Cape (/wiki/Cape) ferraiolo (/wiki/Ferraiolo) Inverness (/wiki/Inverness_cape) Mantle (/wiki/Mantle_(clothing)) monastic (/wiki/Mantle_(monastic_vesture)) royal (/wiki/Mantle_(royal_garment)) mozzetta (/wiki/Mozzetta) pellegrina (/wiki/Pellegrina) Coatee (/wiki/Coatee) Cut-off (/wiki/Cut-off) Gilet (/wiki/Gilet) Jacket (/wiki/Jacket) down (/wiki/Down_jacket) flight (/wiki/Flight_jacket) goggle (/wiki/Goggle_jacket) Harrington (/wiki/Harrington_jacket) leather (/wiki/Leather_jacket) mackinaw (/wiki/Mackinaw_jacket) Norfolk (/wiki/Norfolk_jacket) safari (/wiki/Safari_jacket) Jerkin (/wiki/Jerkin_(garment)) Lab coat (/wiki/White_coat) Parka (/wiki/Parka) Poncho (/wiki/Poncho) Robe (/wiki/Robe) bathrobe (/wiki/Bathrobe) dressing gown (/wiki/Dressing_gown) Shawl (/wiki/Shawl) Ski suit (/wiki/Ski_suit) Sleeved blanket (/wiki/Sleeved_blanket) Windbreaker (/wiki/Windbreaker) Nightwear (/wiki/Nightwear) Babydoll (/wiki/Babydoll) Babygrow (/wiki/Babygrow) Blanket sleeper (/wiki/Blanket_sleeper) Negligee (/wiki/Negligee) Nightgown (/wiki/Nightgown) Nightshirt (/wiki/Nightshirt) Pajamas (/wiki/Pajamas) Swimwear (/wiki/Swimsuit) Bikini (/wiki/Bikini) Burkini (/wiki/Burkini) Boardshorts (/wiki/Boardshorts) Dry suit (/wiki/Dry_suit) Monokini (/wiki/Monokini) One-piece (/wiki/One-piece_swimsuit) Rash guard (/wiki/Rash_guard) Sling (/wiki/Sling_swimsuit) Square leg suit (/wiki/Square_leg_suit) Swim briefs (/wiki/Swim_briefs) Swim diaper (/wiki/Swim_diaper) Trunks (/wiki/Trunks_(clothing)) Wetsuit (/wiki/Wetsuit) Footwear (/wiki/Footwear) Boot (/wiki/Boot) Court shoe (/wiki/Court_shoe) Dress boot (/wiki/Dress_boot) Dress shoe (/wiki/Dress_shoe) Flip-flops (/wiki/Flip-flops) Sandal (/wiki/Sandal) Shoe (/wiki/Shoe) Slipper (/wiki/Slipper) Sneaker (/wiki/Sneaker) Legwear (/wiki/Hosiery) Sock (/wiki/Sock) Hold-ups (/wiki/Hold-ups) Garter (/wiki/Garter) Pantyhose (/wiki/Pantyhose) Stocking (/wiki/Stocking) Tights (/wiki/Tights) Accessories (/wiki/Fashion_accessory) Belt (/wiki/Belt_(clothing)) Boutonnière (/wiki/Boutonni%C3%A8re) Coin purse (/wiki/Coin_purse) Cufflink (/wiki/Cufflink) Cummerbund (/wiki/Cummerbund) Gaiters (/wiki/Gaiters) Glasses (/wiki/Glasses) Gloves (/wiki/Glove) Headband (/wiki/Headband) Handbag (/wiki/Handbag) Jewellery (/wiki/Jewellery) Livery (/wiki/Livery) Muff (/wiki/Muff_(handwarmer)) Pocket protector (/wiki/Pocket_protector) Pocket watch (/wiki/Pocket_watch) Sash (/wiki/Sash) Spats (/wiki/Spats_(footwear)) Sunglasses (/wiki/Sunglasses) Suspenders (/wiki/Suspenders) Umbrella (/wiki/Umbrella) Wallet (/wiki/Wallet) Watch (/wiki/Watch) Dress codes (/wiki/Dress_code) Western (/wiki/Western_dress_codes) Formal (/wiki/Formal_wear) morning dress (/wiki/Morning_dress) white tie (/wiki/White_tie) Semi-formal (/wiki/Semi-formal_wear) black lounge suit (/wiki/Black_lounge_suit) black tie (/wiki/Black_tie) Informal (/wiki/Informal_wear) Casual (/wiki/Casual_wear) Related Clothing fetish (/wiki/Clothing_fetish) Clothing swap (/wiki/Clothing_swap) Costume (/wiki/Costume) creature suit (/wiki/Creature_suit) Halloween costume (/wiki/Halloween_costume) Cross-dressing (/wiki/Cross-dressing) Environmental impact (/wiki/Environmental_impact_of_fashion) Fashion (/wiki/Fashion) haute couture (/wiki/Haute_couture) made-to-measure (/wiki/Made-to-measure) ready-to-wear (/wiki/Ready-to-wear) Fur clothing (/wiki/Fur_clothing) types (/wiki/List_of_types_of_fur) Fursuit (/wiki/Fursuit) Global trade of secondhand clothing (/wiki/Global_trade_of_secondhand_clothing) Laws (/wiki/Clothing_laws_by_country) List of individual dresses (/wiki/List_of_individual_dresses) Reconstructed clothing (/wiki/Reconstructed_clothing) Right to clothing (/wiki/Right_to_clothing) Vintage clothing (/wiki/Vintage_clothing) Clothing portal (/wiki/Portal:Clothing) v t e Design (/wiki/Design) Outline (/wiki/Outline_of_design) Designer (/wiki/Designer) Disciplines Communication (/wiki/Communication_design) design (/wiki/Communication_design) Advertising (/wiki/Advertising) Book design (/wiki/Book_design) Brand design (/wiki/Brand) Exhibit design (/wiki/Exhibit_design) Film title design (/wiki/Film_title_design) Graphic design (/wiki/Graphic_design) Motion (/wiki/Motion_graphic_design) Postage stamp design (/wiki/Postage_stamp_design) Print design (/wiki/Print_design) Illustration (/wiki/Illustration) Information design (/wiki/Information_design) Instructional design (/wiki/Instructional_design) News design (/wiki/News_design) Photography (/wiki/Photography) Retail design (/wiki/Retail_design) Signage (/wiki/Signage) / Traffic sign design (/wiki/Traffic_sign_design) Typography (/wiki/Typography) / Type design (/wiki/Type_design) Video design 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design (/wiki/Urban_design) Industrial (/wiki/Industrial_design) design (/wiki/Industrial_design) Automotive design (/wiki/Automotive_design) Automotive suspension design (/wiki/Automotive_suspension_design_process) CMF design (/wiki/CMF_design) Corrugated box design (/wiki/Corrugated_box_design) Electric guitar design (/wiki/Electric_guitar_design) Furniture design (/wiki/Furniture) Sustainable (/wiki/Sustainable_furniture_design) Hardware interface design (/wiki/Hardware_interface_design) Motorcycle design (/wiki/Motorcycle_design) Packaging and labeling (/wiki/Packaging_and_labeling) Photographic lens design (/wiki/Photographic_lens_design) Product design (/wiki/Product_design) Production design (/wiki/Production_designer) Sensory design (/wiki/Sensory_design) Service design (/wiki/Service_design) Interaction (/wiki/Interaction_design) design (/wiki/Interaction_design) Experience design (/wiki/Experience_design) EED (/wiki/Employee_experience_design) Game design (/wiki/Game_design) Level design (/wiki/Level_(video_games)) Video game design (/wiki/Video_game_design) Hardware interface design (/wiki/Hardware_interface_design) Icon design (/wiki/Icon_design) Immersive design (/wiki/Immersive_design) Information design (/wiki/Information_design) Sonic interaction design (/wiki/Sonic_interaction_design) User experience design (/wiki/User_experience_design) User interface design (/wiki/User_interface_design) Web design (/wiki/Web_design) Other applied arts (/wiki/Applied_arts) Public art design (/wiki/Public_art) Ceramic (/wiki/Ceramic_art) / glass design (/wiki/Glass_art) Fashion design (/wiki/Fashion_design) Costume design (/wiki/Costume_design) Jewellery design (/wiki/Jewellery_design) Floral design (/wiki/Floral_design) Game art design (/wiki/Game_art_design) Property design (/wiki/Property_designer) Scenic design (/wiki/Scenic_design) Sound design (/wiki/Sound_design) Stage/set lighting design (/wiki/Lighting_design) Textile design (/wiki/Textile_design) Other 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(/wiki/Design_fiction) Defensive (/wiki/Defensive_design) Design–bid–build (/wiki/Design%E2%80%93bid%E2%80%93build) Design–build (/wiki/Design%E2%80%93build) architect-led (/wiki/Architect-led_design%E2%80%93build) Diffuse (/wiki/Diffuse_design) Domain-driven (/wiki/Domain-driven_design) Ecological design (/wiki/Ecological_design) Energy neutral (/wiki/Energy_neutral_design) Engineering design process (/wiki/Engineering_design_process) Probabilistic design (/wiki/Probabilistic_design) Error-tolerant (/wiki/Error-tolerant_design) Fault-tolerant (/wiki/Fault-tolerant_design) Framework-oriented (/wiki/Framework-oriented_design) For assembly (/wiki/Design_for_assembly) For behaviour change (/wiki/Behavioural_design) For manufacturability (/wiki/Design_for_manufacturability) For Six Sigma (/wiki/Design_for_Six_Sigma) For testing (/wiki/Design_for_testing) For X (/wiki/Design_for_X) Functional (/wiki/Functional_design) Generative (/wiki/Generative_design) Geodesign (/wiki/Geodesign) HCD 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Blog covering fashion industry, clothing, and lifestyle. This article has multiple issues. Please help improve it (/wiki/Special:EditPage/Fashion_blog) or discuss these issues on the talk page (/wiki/Talk:Fashion_blog) . ( Learn how and when to remove these template messages (/wiki/Help:Maintenance_template_removal) ) This article contains content that is written like an advertisement (/wiki/Wikipedia:What_Wikipedia_is_not#Wikipedia_is_not_a_soapbox_or_means_of_promotion) . Please help improve it (https://en.wikipedia.org/w/index.php?title=Fashion_blog&action=edit) by removing promotional content (/wiki/Wikipedia:Spam) and inappropriate external links (/wiki/Wikipedia:External_links#Advertising_and_conflicts_of_interest) , and by adding encyclopedic content written from a neutral point of view (/wiki/Wikipedia:Neutral_point_of_view) . 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Find sources: "Fashion blog" (https://www.google.com/search?as_eq=wikipedia&q=%22Fashion+blog%22) – news (https://www.google.com/search?tbm=nws&q=%22Fashion+blog%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Fashion+blog%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Fashion+blog%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Fashion+blog%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Fashion+blog%22&acc=on&wc=on) ( September 2018 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Fashion blogs are blogs (/wiki/Blog) that cover the fashion industry (/wiki/Fashion_industry) , clothing (/wiki/Clothing) , and lifestyle (/wiki/Lifestyle_(social_sciences)) related topics. Definition [ edit ] A fashion blog can cover many topics, such as specific items of clothing (/wiki/Clothing) and accessories (/wiki/Fashion_accessory) , beauty tips, trends in various apparel markets ( haute couture (/wiki/Haute_couture) , prêt-à-porter (/wiki/Ready_to_wear) , etc.), celebrity fashion choices, and street fashion (/wiki/Street_fashion) trends. [1] (#cite_note-Corcoran_b-1) [2] (#cite_note-weil-2) They cover fashion at all levels, from the largest fashion design houses to the smallest independent designers. [2] (#cite_note-weil-2) Many fashion blogs can also be categorized as shopping blogs, similar to the content of fashion magazines (/wiki/Magazine) . Some retailers in the fashion industry, have started blogs to promote their products. [3] (#cite_note-la_ferla-3) Some blogs focus more on fashion advice, featuring how-to articles. The articles can discuss clothing fit, the matching and complementing (/wiki/Complementary_colors) of colours, and other information on clothes wearing and care. They can also include prescriptive advice on adhering to basic standards and recent trends. Impact on the fashion industry [ edit ] Fashion is a multi-billion-dollar industry that has considerable impact on the way ordinary people dress and present themselves. It relies heavily on media and advertising (/wiki/Advertising) to communicate the producer's preferences and goals (/wiki/Goal) , and to influence public perception through various types of promotion (/wiki/Promotion_(marketing)) . Fashion can be influenced by social change (/wiki/Social_change) and countertrends outside the producer, retailer, or advertiser's control. As fashion is driven by trends both inside and outside the fashion industry, fashion blogs and other " new media (/wiki/New_media) " outside the control of traditional establishment (/wiki/The_Establishment) represent a disruptive innovation (/wiki/Disruptive_innovation) to the social dynamics (/wiki/Social_dynamics) of mass media (/wiki/Mass_media) and fashion consumption (/wiki/Consumption_(economics)) in modern consumer society (/wiki/Consumer_society) . It is likely that the blogosphere (/wiki/Blogosphere) will have a considerable long-term influence on the industry, as the number of fashion-based blogs continue to grow with increasing numbers of consumers able to create and modify the media that they consume, and traditional producers and advertisers adapting their practices to avoid dilution of their own influence. [ citation needed ] From the industry's standpoint [ edit ] During the 2011 New York City Fashion Week, top-tier fashion designers Lazaro Hernandez (/wiki/Lazaro_Hernandez) and Jack McCollough (/wiki/Jack_McCollough) , owners and designers of Proenza Schouler (/wiki/Proenza_Schouler) , were interviewed by Imran Ahmed, founder and editor of The Business of Fashion website. The two fashion designers were asked various questions from an audience of fashion bloggers, including their personal opinions on the effects of fashion blog writing, how it influences the fashion industry as a whole, and how fashion blog posts affect their designing and selling process. When asked about their thoughts on the overall effect of the fashion blogs, McCollough stated, "Blogs posting things about us, going viral, spreading throughout the internet… it has an extraordinary impact on the business". They also stated how in the past, they would have to wait for three or four days to hear a review on their line, but now the feedback comes almost instantly. When asked about how the blogs directly affect their own designs, they explained that while they do read numerous blogs daily, they try to take each criticism, positive or negative, with a grain of salt, "We try not to obsess over it" stated McCollough. [4] (#cite_note-jacobs1-4) Founder of Independent Fashion Blogger (IFB) Jennine Jacob stated how thrilled she was to get the validation from high-end fashion designers such as Proenza Schouler (/wiki/Proenza_Schouler) . Imran Amed stated that there will always be designers and editors that will never fully wrap their head on the huge impact fashion blogging and social media (/wiki/Social_media) has on the industry, but on the other side of the spectrum, there are numerous designers (/wiki/Designers) , editors (/wiki/Editing) , branders, and writers that do understand and are "coming on board". He also states that this is a fairly new phenomenon that will take time for the fashion world to reap the full benefits. [4] (#cite_note-jacobs1-4) The New York Times (/wiki/The_New_York_Times) "Style" section writer, Eric Wilson, did an extensive study on the impact of fashion bloggers on the fashion industry for one of his style columns. Wilson wrote that these bloggers have ascended "from the nosebleed seats to the front row" in the past year and that the divide between the "high code" editors with a professional opinion and the "amateur" fashion bloggers is beginning to disintegrate. Wilson interviewed prominent publicists, editors, and designers. Publicist Kelly Cutrone (/wiki/Kelly_Cutrone) stated that over the past two years, there has been a complete change in who is writing about fashion. Not only does Cutrone (/wiki/Kelly_Cutrone) say she needs to keep a watch on the editors of mainstream writings, such as Vogue (/wiki/Vogue_(magazine)) and Elle (/wiki/Elle_(magazine)) , but now she needs to monitor on the millions of fashion bloggers around the world. Cutrone goes on the later state that once these bloggers post anything on the internet, it never comes off, and it now becomes the first thing that the designers will see. [5] (#cite_note-5) From a reader’s standpoint [ edit ] The blogosphere has opened up many doors for the fashion industry, one of which is allowing the ordinary people to partake in the "elite" fashion world and discuss their likes and dislikes on the way fashion is presented in the media. [6] (#cite_note-6) In 2008, the Pulitzer Prize (/wiki/Pulitzer_Prize) winning fashion writer and former blogger Robin Givhan (/wiki/Robin_Givhan) claimed that fashion blogs had democratized the fashion industry. Givhan had also written in Harper's Bazaar (/wiki/Harpers_Bazaar) that "The rise of the fashion blogger has evolved [fashion] from an aristocratic business dominated by omnipotent designers into a democratic one in which everyone has access to stylistic clothes...the average people, too often estranged from fashion, is not taking ownership of it". [7] (#cite_note-7) A similar statement was said by Constance White, the style director for eBay (/wiki/EBay) and former fashion journalist, saying that the impact of the fashion blogosphere has allowed the whole population to take ownership of the fashion world, including people of all different races, genders, and social standings. [8] (#cite_note-8) Unlike fashion-focused magazines and television shows, fashion blogs are able to be updated more frequently, keeping up to date with the new and up-and-coming fashion trends. [9] (#cite_note-9) From an advertising standpoint [ edit ] Many of these fashion blogs also serve as a source of advertisement (/wiki/Advertisement) for both designers and fashion retail stores. These advertisements have had a heavy influence on fashion designers (/wiki/Fashion_designers) of various standings, helping to give a name to small up-and-coming designers as well as bringing high-end designers back to life. Many of the top fashion bloggers are said to have received free samples of the designer pieces that they have mentioned in their blogs and some top fashion bloggers got paid for wearing and publishing a brand name product on their Instagram account. [10] (#cite_note-10) [11] (#cite_note-Racked.com-11) In a study conducted through the Biz360 Community, it was found that over 53% of the New York City Fashion Week converge had come from online articles and fashion blogs. While a vast portion of what was written in these blogs came from various mainstream fashion resource magazine and newspaper articles, such as Coutorture and New York Magazine (/wiki/New_York_Magazine) , these fashion blogs provided a larger viewing and reading audience for the fashion week. [12] (#cite_note-wright1-12) In the past years, American Express (/wiki/American_Express) has become increasingly involved in New York City Fashion Week (/wiki/New_York_Fashion_Week) . In 2010 American Express sponsored Evolving Influence, the first international bloggers' conference in New York City (/wiki/New_York_City) , during which many surveys and studies took place about the usefulness and tactics used in fashion blogs. Through the study, it was found that bloggers are more comfortable reporting in real-time and incorporating social tools in their opinions of runway trends and designers. After Fashion Week, it was found that 6.37% of all articles written about or related to Fashion Week (/wiki/Fashion_week) had mentioned the Evolving Influence main sponsor, American Express. These blogs were not directly paid to mention American Express, so they served as a free source of advertisement for American Express. [12] (#cite_note-wright1-12) Number of fashion blogs [ edit ] There is considerable disagreement regarding the number of fashion blogs in existence. In a February 2006 Women's Wear Daily (/wiki/Women%27s_Wear_Daily) article, Corcoran stated: There is an enormous, and growing, number of fashion and shopping-related blogs: about 2 million, according to Technorati Inc., [...] or slightly less than 10 percent of the 27 million blogs the company tracks. (That number includes blogs in languages that use the Roman alphabet (/wiki/Latin_alphabet) and that contain anything fashion-related, including sites such as Pink Is the New Blog , which focuses on celebrities.) [13] (#cite_note-corcoran_a-13) It is likely that this figure is inflated by a substantial number of personal blogs that mention fashion, as opposed to the blogs using the criteria above. All other estimates of the popularity of fashion blogs are considerably lower. In September 2005, La Ferla stated that "as little as a year ago, the number of [fashion bloggers] could be counted in the dozens. Today there are hundreds". [3] (#cite_note-la_ferla-3) Lara Zamiatin estimated in November 2006 that there are now "several hundred fashion blogs". [14] (#cite_note-zamiatin-14) In March 2019, UK-based communications technology company Vuelio released a blogging industry report white paper (/wiki/White_paper) containing longitudinal survey (/wiki/Longitudinal_survey) data (collected annually 2016-2018) and subsequent analysis. The top five blog categories were identified as: Fashion & Beauty, Lifestyle, Parenting, Food & Drink and Travel. In fact, these five "supersectors" collectively on average accounted for two-thirds of all blogs. A key finding was a marked decrease in Fashion & Beauty category blogs over this three-year period. As a percentage of all blogs, Fashion & Beauty was reported at the following levels per year: 22% in 2016, 13% in 2017, and 8% in 2018. [15] (#cite_note-:0-15) “[Fashion & Beauty] has seen the biggest drop in number of blogs from 2016, and as this category is most likely to attract between 1,000 – 10,000 unique visitors per month (medium size), it suggests that the market for this topic is in decline.” [15] (#cite_note-:0-15) Types of fashion blogs [ edit ] By writer's expertise [ edit ] Fashion blogs may be written by insiders, outsiders, or aspiring insiders. [1] (#cite_note-Corcoran_b-1) Insiders are people who work or have previously worked in the fashion industry or for the traditional fashion media (/wiki/Fashion_journalism) . In addition, some fashion insiders write occasionally as guest bloggers on larger sites. For example, the fashion designer Nanette Lepore (/wiki/Nanette_Lepore) has contributed to Glam.com. [13] (#cite_note-corcoran_a-13) Outsiders are people who know a lot (or at least have strong opinions) about fashion, usually by virtue of being very dedicated consumers of fashion. Aspiring insiders are people who want to work in the fashion industry or media and believe their blog may provide a "back door" entry into a mainstream fashion writing job. By ownership [ edit ] Fashion blogs may be owned either by individuals or by companies. The types of individuals running fashion blogs are listed above. The types of companies now running fashion blogs include large mainstream media organizations and fashion retailers. Condé Nast Publications (/wiki/Cond%C3%A9_Nast_Publications) is a mainstream media organization with fashion blogs. Fashion retailers with blogs include Bluefly, Queen of Suburbia, and Splendora (/wiki/Splendora) . [3] (#cite_note-la_ferla-3) History [ edit ] Fashion blogs first appeared in the blogosphere prior to 2002. [16] (#cite_note-sinclair-16) Both the number of fashion blogs and the number of media mentions of fashion blogs has grown considerably since then. Published accounts of the growing number of fashion blogs are mentioned above, and a Facteva search reveals that media articles mentioning "fashion blogs" grew from one in 2002 to over 100 in 2006. In 2006, the commercial success and growing profile of the fashion bloggers were the two main themes in the coverage of fashion blogs. In 2009, CNN wrote about a blogger, Rumi Neely of Fashion Toast, who went from a small website to the runway for a popular label. [17] (#cite_note-17) Early fashion blogs [ edit ] Fashion blogs first appeared in the blogosphere prior to 2002, [16] (#cite_note-sinclair-16) and Kathryn Finney (/wiki/Kathryn_Finney) , founder of Budget Fashionista, was invited to New York Fashion Week (/wiki/New_York_Fashion_Week) as early as September 2003. [13] (#cite_note-corcoran_a-13) A short time later, Fashiontribes.com was being seated fourth row at shows like Bill Blass (/wiki/Bill_Blass) . Paris-based American fashion blogger Diane Pernet (/wiki/Diane_Pernet) , founder of A Shaded View on Fashion , [18] (#cite_note-18) has been called "the original style blogger [19] (#cite_note-19) " by The New York Times (/wiki/The_New_York_Times) and has been a fashion blogger since 2005. [20] (#cite_note-20) In 2004, Bryan Grey-Yambao founded his namesake blog Bryanboy. He helped set the standards for designer “gifting” and disclosure of the same in the fashion blogosphere; an area where it is currently considered acceptable for a blogger to take international airfare, accommodation, designer goods and sometimes even celebrity-style appearance fees from the major brands they cover. [21] (#cite_note-21) By 2008, Tina Craig and Kelly Cook of Bag Snob.com were seated second row at shows like Diane von Furstenberg (/wiki/Diane_von_F%C3%BCrstenberg) and Oscar de la Renta (/wiki/Oscar_de_la_Renta) . [22] (#cite_note-dodes-22) In 2004, Michelle Madhok (/wiki/Michelle_Madhok) introduced SheFinds.com, "an online shopping publication". By 2005, the site earned $300,000 per year, although most of that revenue went towards running expenses and Madhok paid herself just $40,000 per year. [23] (#cite_note-Tahmincioglu-23) Mainstream media acceptance of fashion blogging [ edit ] Fashion blogs are increasingly becoming a part of the mainstream fashion press. An increasing number of fashion bloggers were invited to designers' fashion shows in 2006 compared to previous years. [22] (#cite_note-dodes-22) Large advertisers like H&M and Gap have bought advertising on fashion blogs, [22] (#cite_note-dodes-22) and other large companies like the underwear-maker Jockey are targeting fashion blogs in their PR efforts. [3] (#cite_note-la_ferla-3) Many big media organizations have started fashion blogs and the best fashion bloggers are now also being offered mainstream media positions. Fashion blogging is also now regarded as worthy of mainstream media coverage. The reference list below shows the media publications that have written about fashion blogs. These publications include The Wall Street Journal (/wiki/The_Wall_Street_Journal) , The New York Times , Fast Company (/wiki/Fast_Company) and The Sydney Morning Herald (/wiki/The_Sydney_Morning_Herald) . Commercialization of fashion blogging [ edit ] Fashion blogging is rapidly becoming a highly profitable new media business, with a mixture of independent blogs and well-funded fashion blog networks competing to dominate the space. Other commercially successful independent fashion blogs include Budget Fashionista, which reportedly brings in $600,000 a year in revenue [24] (#cite_note-24) and The Bag Snob, which "generates a six-figure income, mainly from advertising". By 2008 SheFinds.com was generating $400,000 in revenue per year. [25] (#cite_note-25) Personal style blogger (/wiki/Personal_style_blogger) Aimee Song from SongofStyle.com has told WWD that she gets paid anywhere from a couple thousand to $50,000 for hosting an event or Instagramming a brand. [26] (#cite_note-26) There have also been a series of business deals that have brought serious investor money into the fashion blogging space. These include: October 2006: Sugar Publishing Inc. raised Series A funding from legendary venture capital firm Sequoia to a rumored value of $5 million. [27] (#cite_note-Arrington-27) Sugar's small blog network includes FabSugar, a fashion blog. November 2006: Glam.com raised $18.5 million in Series C venture capital from a consortium led by Duff Ackerman & Goodrich Ventures, with other investors including "Draper Fisher Jurvetson, which helped launch eBay, Accel Partners, an investor in Facebook, as well as WaldenVC and Information Capital". [28] (#cite_note-Schachter-28) October 2007: Sugar Publishing purchased early fashion blog network Coutorture Media for an undisclosed sum. [29] (#cite_note-McCarthy-29) References [ edit ] ^ Jump up to: a b Corcoran, Cate T. Blogging for bags, "Women's Wear Daily", October 23, 2006. ^ Jump up to: a b Weil, Jennifer with contributions from Corcoran, Cate T. and Moir, Jane. In their sites, "Women's Wear Daily", June 29, 2006. ^ Jump up to: a b c d La Ferla, Ruth. "Online, Feisty Critics" (https://www.nytimes.com/2005/09/08/fashion/thursdaystyles/08BLOGS.html) , The New York Times, September 8, 2005. Accessed November 24, 2006. ^ Jump up to: a b Jacobs, Jennine. "Proenza Schouler Sees "Extraordinary Impact" of Fashion Bloggers" (https://web.archive.org/web/20120426021641/http://the-coveted.com/blog/2011/02/22/proenza-schouler-sees-extraordianary-impact-of-fashion-bloggers/) . The Coveted. Archived from the original (http://the-coveted.com/blog/2011/02/22/proenza-schouler-sees-extraordianary-impact-of-fashion-bloggers/) on 26 April 2012 . Retrieved 5 December 2011 . ^ (#cite_ref-5) Wilson, Eric. "The New York Times Catches on to the Impact of Fashion Bloggers" (https://web.archive.org/web/20150403130144/http://fashionbombdaily.com/2009/12/27/the-new-york-times-catches-onto-the-impact-of-fashion-bloggers/) . The Fashion Bomb Blog. Archived from the original (http://fashionbombdaily.com/2009/12/27/the-new-york-times-catches-onto-the-impact-of-fashion-bloggers/) on 3 April 2015 . Retrieved 5 December 2011 . ^ (#cite_ref-6) Leung, Linda (2008-01-01). Digital Experience Design: Ideas, Industries, Interaction . Intellect Books. ISBN (/wiki/ISBN_(identifier)) 9781841502090 . ^ (#cite_ref-7) Pham, M.-H. T. (2011). "Blog Ambition: Fashion, Feelings, and the Political Economy of the Digital Raced Body" (http://cameraobscura.dukejournals.org/content/26/1_76/1.full.pdf+html) . Camera Obscura: Feminism, Culture, and Media Studies . 26 (1 76): 1–37. doi (/wiki/Doi_(identifier)) : 10.1215/02705346-2010-013 (https://doi.org/10.1215%2F02705346-2010-013) . Retrieved 13 October 2011 . ^ (#cite_ref-8) Corcoran, Cate (February 2006). "The Blogs That Took Over the Tents" (https://web.archive.org/web/20110409165914/http://images.glam.com/112/5357928-3225643e817df00f30.pdf) (PDF) . WWD : 30. Archived from the original (http://images.glam.com/112/5357928-3225643e817df00f30.pdf) (PDF) on 9 April 2011 . Retrieved 13 October 2011 . ^ (#cite_ref-9) Hauge, Atle (January 2006). "Gatekeepers and knowledge diffusion in the fashion industry" (https://web.archive.org/web/20120415042731/http://www.druid.dk/uploads/tx_picturedb/dw2006-1711.pdf) (PDF) : 9–16. Archived from the original (http://www.druid.dk/uploads/tx_picturedb/dw2006-1711.pdf) (PDF) on 15 April 2012 . Retrieved 13 October 2011 . {{ cite journal (/wiki/Template:Cite_journal) }} : Cite journal requires |journal= ( help (/wiki/Help:CS1_errors#missing_periodical) ) ^ (#cite_ref-10) Khodadad, Ghazaleh (May 2010). "FASHIONFEVER" (https://web.archive.org/web/20120425080712/http://bada.hb.se/bitstream/2320/6769/1/2010.13.12.pdf) (PDF) : 21–29. Archived from the original (http://bada.hb.se/bitstream/2320/6769/1/2010.13.12.pdf) (PDF) on 2012-04-25. {{ cite journal (/wiki/Template:Cite_journal) }} : Cite journal requires |journal= ( help (/wiki/Help:CS1_errors#missing_periodical) ) ^ (#cite_ref-Racked.com_11-0) http://racked.com/archives/2014/06/12/bryanboy-on-blogging-salaries-100000-is-not-enough.php (http://racked.com/archives/2014/06/12/bryanboy-on-blogging-salaries-100000-is-not-enough.php) , "Random Fashion Blogger from Utah Makes $1 Million a Year", June 12, 2014. Accessed October 4, 2014. ^ Jump up to: a b Wright, Marcala. "The Impact of Bloggers on New York Fashion Week" (https://web.archive.org/web/20111201012938/http://fashionablymarketing.me/2010/02/impact-of-fashion-bloggers-new-york-fashion-week/) . FFM. Archived from the original (http://fashionablymarketing.me/2010/02/impact-of-fashion-bloggers-new-york-fashion-week/) on 1 December 2011 . Retrieved 5 December 2011 . ^ Jump up to: a b c Corcoran, Cate T. The blogs that took over the tents, "Women's Wear Daily", February 6, 2006. ^ (#cite_ref-zamiatin_14-0) Zamiatin, Lara. Let slip the blogs of wore (http://www.smh.com.au/articles/2006/07/26/1153816248787.html) , "Sydney Morning Herald", July 27, 2006. Accessed November 24, 2006. ^ Jump up to: a b "UK Bloggers Survey 2019" (https://www.vuelio.com/uk/wp-content/uploads/2019/03/UK-Bloggers-Survey-2019.pdf) (PDF) . Vuelio . March 2019 . Retrieved July 4, 2022 . ^ Jump up to: a b Sinclair, Jenny. Fashion blogs (http://www.theage.com.au/articles/2002/10/17/1034561201639.html) , "The Age", October 17, 2002. Accessed November 18, 2006. ^ (#cite_ref-17) "A fashion blog leads to the Paris runway" (https://money.cnn.com/2009/04/22/smallbusiness/fashion_bloggers_go_into_business.smb/index.htm) . CNN (/wiki/CNN) . Retrieved 9 June 2015 . ^ (#cite_ref-18) "Home - Fashion Week" (https://ashadedviewonfashion.com) . Retrieved 2018-10-06 . ^ (#cite_ref-19) Murphy, Tim. "Q. and A. | Diane Pernet, the Original Style Blogger, on Fashion and Film" (https://tmagazine.blogs.nytimes.com/2014/03/13/q-and-a-diane-pernet-the-original-style-blogger-on-fashion-and-film/) . T Magazine . Retrieved 2018-10-06 . ^ (#cite_ref-20) "Diane Pernetis One of the 500 People Shaping the Global Fashion Industry" (https://www.businessoffashion.com/community/people/diane-pernet) . The Business of Fashion . Retrieved 2018-10-06 . ^ (#cite_ref-21) "How Fashion Blogger BryanBoy Became a Front-Row Fixture" (https://observer.com/2012/02/bryanboy-new-york-fashion-week-anna-wintour-karl-lagerfeld-marc-jacobs/) . The New York Observer (/wiki/The_New_York_Observer) . 8 February 2012. ^ Jump up to: a b c Dodes, Rachel. "Bloggers get under the tent" (https://www.wsj.com/public/article/SB115801727410860002-3NtzCOa4qvvjJFhAlAC1llCEhM4_20070911.html) [ permanent dead link ] , The Wall Street Journal, September 12, 2006. Accessed November 18, 2006. ^ (#cite_ref-Tahmincioglu_23-0) Tahmincioglu, Eve. When the Boss Is Last in Line for a Paycheck (https://www.nytimes.com/2007/03/22/business/22sbiz.html?_r=1&oref=slogin) , The New York Times, March 22, 2007. Accessed May 29, 2008. ^ (#cite_ref-24) "13 Questions for a Fashion Blogger - Kathryn Finney" (http://www.nydailynews.com/lifestyle/2007/10/14/2007-10-14_13_questions_for_a_fashion_blogger.html) , New York Daily News, October 17, 2007. ^ (#cite_ref-25) "White Cat Media Tells You Where to Get a Bargain, Reality Checks Article" (https://www.inc.com/magazine/20080301/white-cat-media-tells-you-where-to-get-a-bargain.html) . Inc.com . 1 March 2008. ^ (#cite_ref-26) Price, Leslie (5 June 2012). "LA Blogger Aimee Song Makes Up to $50,000 On Brand Collabs" (https://la.racked.com/2012/6/5/7722589/la-blogger-aimee-song-makes-up) . Racked LA . ^ (#cite_ref-Arrington_27-0) Arrington, Michael. "Sequoia Invests in Blog Network Sugar Publishing" (https://techcrunch.com/2006/10/16/sequoia-invests-in-blog-network-team-sugar/) , TechCrunch, October 16, 2006. Accessed October 13, 2007. ^ (#cite_ref-Schachter_28-0) Schachter, Ken. "Glam Media Fashionistas Get $18.5M" (http://www.redherring.com/Home/20266) Archived (https://web.archive.org/web/20080920102444/http://www.redherring.com/Home/20266) 2008-09-20 at the Wayback Machine (/wiki/Wayback_Machine) , Red Herring, 14 December 2006. Accessed October 13, 2007. ^ (#cite_ref-McCarthy_29-0) McCarthy, Caroline. "Sugar's shopping spree goes on with Coutorture buy" (https://archive.today/20130130054102/http://www.news.com/8301-13577_3-9793631-36.html) , CNET news.com, October 9, 2007. 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Measure (usually 2 factors) to determine proper bra fit Measuring for bra size: around the torso (/wiki/Torso) at the inframammary fold (/wiki/Inframammary_fold) and over the bust Bra size (also known as brassiere measurement or bust size ) indicates the size characteristics of a bra (/wiki/Bra) . While there is a number of bra sizing systems in use around the world, the bra sizes usually consist of a number, indicating the size of the band around the woman's torso (/wiki/Torso) , and one or more letters that indicate the breast cup size. Bra cup sizes were invented in 1932 while band sizes became popular in the 1940s. For convenience, because of the impracticality of determining the size dimensions of each breast, the volume of the bra cup, or cup size , is based on the difference between band length and over-the-bust measurement. Manufacturers try to design and manufacture bras that correctly fit the majority of women, while individual women try to identify correctly fitting bras among different styles and sizing systems. [1] (#cite_note-bareweb-1) The shape, size, position, symmetry, spacing, firmness, and sag (/wiki/Ptosis_(breasts)) of individual women's breasts vary considerably. Manufacturers' bra size labelling systems vary from country to country because no international standards (/wiki/International_standard) exist. Even within a country, one study found that the bra size label was consistently different from the measured size. [2] (#cite_note-FOOTNOTEPechter1998-2) As a result of all these factors, about 25% of women have a difficult time finding a properly fitted bra, [3] (#cite_note-3) and some women choose to buy custom-made bras due to the unique shape of their breasts. Measurement method origins [ edit ] 1932 advertisement by S.H. Camp and Company, the first to correlate A-to-D cup size with the volume of the breast On 21 November 1911, Parisienne Madeleine Gabeau received a United States patent for a brassiere with soft cups and a metal band that supported and separated the breasts (/wiki/Breasts) . To avoid the prevailing fashion that created a single "monobosom", [ citation needed ] her design provided: "...that the edges of the material d may be carried close along the inner and under contours of the breasts, so as to preserve their form, I employ an outlining band of metal b which is bent to conform to the lower curves of the breast." [4] (#cite_note-4) Cup design origins [ edit ] The term "cup" was not used to describe bras until 1916 [5] (#cite_note-FOOTNOTEFarrell-BeckGau2002-5) when two patents were filed. [6] (#cite_note-patent-6) In October 1932, S.H. Camp and Company was the first to use letters of the alphabet (A, B, C and D) to indicate cup size, although the letters represented how pendulous the breasts were and not their volume. Camp's advertising in the February 1933 issue of Corset and Underwear Review featured letter-labeled profiles of breasts. Cup sizes A to D were not intended to be used for larger-breasted women. [7] (#cite_note-FOOTNOTEApsan2006186-7) Warner's 1944 advertisement for its Alphabet Bras in cup sizes A to D In 1935, Warner's (/wiki/Warner%27s) introduced its Alphabet Bra with cup sizes from size A to size D. Their bras incorporated breast volume into its sizing, [8] (#cite_note-8) and continues to be the system in use today. Before long, these cup sizes got nicknames: egg cup, tea cup, coffee cup and challenge cup, respectively. [9] (#cite_note-FOOTNOTEEisenbergEisenberg2012-9) Two other companies, Model and Fay-Miss (renamed in 1935 as the Bali Brassiere Company (/wiki/Bali_(lingerie)) ), followed, offering A, B, C and D cup sizes in the late 1930s. Catalogue companies continued to use the designations Small, Medium and Large through the 1940s. [10] (#cite_note-FOOTNOTEApsan2006186Farrell-BeckGau2002Steele2010101-10) Britain did not adopt the American cups in 1933, and resisted using cup sizes for its products until 1948. The Sears Company (/wiki/Sears) finally applied cup sizes to bras in its catalogue in the 1950s. [11] (#cite_note-FOOTNOTEFields2007102-11) However, though various manufacturers used the same descriptions of bra sizes (e.g., A to D, small large, etc.), there was no standardisation of what these descriptions actually measured, so that each company had its own standards. Band measurement origins [ edit ] Multiple hook and eye closures were introduced in the 1930s that enabled adjustment of bands. Prior to the widespread use of bras, the undergarment of choice for Western women (/wiki/Western_world) was a corset (/wiki/Corset) . To help women meet the perceived ideal female body shape (/wiki/Female_body_shape) , corset (/wiki/Corset) and girdle (/wiki/Girdle_(undergarment)) manufacturers used a calculation called hip spring , the difference between waist and hip measurement (usually 10–12 inches (25–30 cm)). [12] (#cite_note-12) The band measurement system was created by U.S. bra manufacturers just after World War II (/wiki/World_War_II) . [ citation needed ] Other innovations [ edit ] The underwire (/wiki/Underwire_bra) was first added to a strapless bra in 1937 by André, a custom-bra firm. [13] (#cite_note-shmoop.com-13) Patents for underwire-type devices in bras were issued in 1931 and 1932, but were not widely adopted by manufacturers until after World War II when metal shortages eased. [14] (#cite_note-14) In the 1930s, Dunlop (/wiki/Dunlop_Rubber) chemists were able to reliably transform rubber latex (/wiki/Latex) into elastic thread. After 1940, "whirlpool", or concentric stitching, was used to shape the cup structure of some designs. [15] (#cite_note-angel-15) The synthetic fibres were quickly adopted by the industry because of their easy-care properties. Since a brassiere must be laundered frequently, easy-care fabric was in great demand. [ citation needed ] Consumer fitting [ edit ] For best results, the breasts should be measured twice: once when standing upright, once bending over at the waist with the breasts hanging down. [16] (#cite_note-16) If the difference between these two measurements is more than 10 cm, then the average is chosen for calculating the cup size. [ citation needed ] A number of reports, surveys and studies in different countries have found that between 80% and 85% of women wear incorrectly fitted bras. [17] (#cite_note-FOOTNOTEWoodCameronFitzgerald2008-17) [ unreliable source? ] In November 2005, Oprah Winfrey (/wiki/Oprah_Winfrey) produced a show devoted to bras and bra sizes, during which she talked about research that eight out of ten women wear the wrong size bra. [18] (#cite_note-oprah2005-18) Larger breasts and bra fit [ edit ] A woman wearing bra size 30E exhibits correct band fit (30) with a cup fit (E) that is too small for her. Studies have revealed that the most common mistake made by women when selecting a bra was to choose too large a back band and too small a cup, for example, 38C instead of 34E, or 34B instead of 30D. [19] (#cite_note-telegraph_weight-19) [20] (#cite_note-royal_free-20) The heavier a person's build, the more difficult it is to obtain accurate measurements, as measuring tape sinks into the flesh more easily. [21] (#cite_note-FOOTNOTEGreenbaumHeslopMorrisDunn2003-21) In a study conducted in the United Kingdom of 103 women seeking mammoplasty (/wiki/Mammoplasty) , researchers found a strong link between obesity and inaccurate back measurement. They concluded that " obesity (/wiki/Obesity) , breast hypertrophy (/wiki/Gigantomastia) , fashion (/wiki/Fashion) and bra-fitting practices combine to make those women who most need supportive bras the least likely to get accurately fitted bras." [21] (#cite_note-FOOTNOTEGreenbaumHeslopMorrisDunn2003-21) One issue that complicates finding a correctly fitting bra is that band and cup sizes are not standardized, but vary considerably from one manufacturer to another, resulting in sizes that only provide an approximate fit. [22] (#cite_note-22) [23] (#cite_note-herroom-23) Women cannot rely on labeled bra sizes to identify a bra that fits properly. [24] (#cite_note-wizards-24) [25] (#cite_note-herroomplus-25) Scientific studies show that the current system of bra sizing may be inaccurate. [26] (#cite_note-FOOTNOTEZhengaYuFan2007-26) Manufacturers cut their bras differently, so, for example, two 34B bras from two companies may not fit the same person. [27] (#cite_note-drdiana-27) Customers should pay attention to which sizing system is used by the manufacturer. The main difference is in how cup sizes increase, by 2 cm or 1 inch (= 2.54 cm, see below). Some French manufacturers also increase cup sizes by 3 cm. [28] (#cite_note-28) Unlike dress sizes, manufacturers do not agree on a single standard. British bras currently range from A to LL cup size (with Rigby&Peller recently introducing bras by Elila which go up to US-N-Cup), while most Americans can find bras with cup sizes ranging from A to G. Some brands (Goddess, Elila) go as high as N, a size roughly equal to a British JJ-Cup. In continental Europe, Milena Lingerie from Poland produces up to cup R. Larger sizes are usually harder to find in retail outlets. As the cup size increases, the labeled cup size of different manufacturers' bras tend to vary more widely in actual volume. [25] (#cite_note-herroomplus-25) One study found that the label size was consistently different from the measured size. [29] (#cite_note-FOOTNOTEGreenbaumHeslopMorrisDunn2003Pechter1998-29) Even medical studies have attested to the difficulty of getting a correct fit. [30] (#cite_note-FOOTNOTEMcGheeSteele2006-30) Research by plastic surgeons has suggested that bra size is imprecise because breast volume is not calculated accurately: The current popular system of determining bra size is inaccurate so often as to be useless. Add to this the many different styles of bras and the lack of standardization between brands, and one can see why finding a comfortable, well-fitting bra is more a matter of educated guesswork, trial, and error than of precise measurements. [31] (#cite_note-FOOTNOTEPechter1998RingbergBågemanRoseIngvar2006-31) The use of the cup sizing and band measurement systems has evolved over time and continues to change. Experts recommend that women get fitted by an experienced person [32] (#cite_note-doreen-32) at a retailer offering the widest possible selection of bra sizes and brands. Bad bra-fit symptoms [ edit ] If the straps dig into the shoulder, leaving red marks or causing shoulder or neck pain, the bra band is not offering enough support. [33] (#cite_note-fantasie-33) If breast tissue overflows the bottom of the bra, under the armpit, or over the top edge of the bra cup, the cup size is too small. [33] (#cite_note-fantasie-33) Loose fabric in the bra cup indicates the cup size is too big. [34] (#cite_note-34) If the underwires poke the breast under the armpit or if the bra's center panel does not lie flat against the sternum, [35] (#cite_note-35) the cup size is too small. [33] (#cite_note-fantasie-33) If the band rides up the torso at the back, the band size is too big. If it digs into the flesh, causing the flesh to spill over the edges of the band, the band is too small. [33] (#cite_note-fantasie-33) If the band feels tight, this may be due to the cups being too small; instead of going up in band size a person should try going up in cup size. Similarly a band might feel too loose if the cup is too big. It is possible to test whether a bra band is too tight or too loose by reversing the bra on her torso so that the cups are at the back and then check for fit and comfort. Generally, if the wearer must continually adjust the bra or experiences general discomfort, the bra is a poor fit and she should get a new fitting. [36] (#cite_note-36) Obtaining best fit [ edit ] Bra extension for the band Bra experts recommend that women, especially those whose cup sizes are D or larger, get a professional bra fitting from the lingerie department of a clothing store or a specialty lingerie store. [32] (#cite_note-doreen-32) However, even professional bra fitters in different countries including New Zealand [37] (#cite_note-bra_fitting_services-37) and the United Kingdom [38] (#cite_note-womens_hour_bras-38) produce inconsistent measurements of the same person. There is significant heterogeneity in breast shape, density, and volume. As such, current methods of bra fitting may be insufficient for this range of chest morphology. A 2004 study by Consumers Reports in New Zealand found that 80% of department store bra fittings resulted in a poor fit. [39] (#cite_note-which-39) However, because manufacturer's standards widely vary, [40] (#cite_note-ansi-40) women cannot rely on their own measurements to obtain a satisfactory fit. [ citation needed ] Some bra manufacturers and distributors state that trying on and learning to recognize a properly fitting bra is the best way to determine a correct bra size, much like shoes (/wiki/Shoes) . A correctly fitting bra should meet the following criteria: [41] (#cite_note-41) [42] (#cite_note-42) When viewed from the side, the edge of the chest band should be horizontal, should not ride up the back and should be firm but comfortable. Each cup's underwire at the front should lie flat against the sternum (not the breast), along the inframammary fold (/wiki/Inframammary_fold) , and should not dig into the chest or the breasts, rub or poke out at the front. The breasts should be enclosed by the cups and there should be a smooth line where the fabric at the top of the cup ends. The apex of the breast, the nipple, must be in the center of the cup. The breast should not bulge over the top or out the sides of the cups, even with a low-cut style such as the balconette bra (/wiki/Balconette_brassiere) . The straps of a correctly fitted bra should not dig into or slip off the shoulder, which suggests a too-large band. The back of the bra should not ride up and the chest band should remain parallel to the floor when viewed from the back. The breasts should be supported primarily by the band around the rib cage, rather than by the shoulder straps. The woman should be able to breathe and move easily without the bra slipping around. Confirming bra fit [ edit ] One method to confirm that the bra is the best fit has been nicknamed the Swoop and Scoop . After identifying a well-fitting bra, the woman bends forward (the swoop ), allowing her breasts to fall into the bra, filling the cup naturally, and then fastening the bra on the outermost set of hooks. [43] (#cite_note-bailly-43) [44] (#cite_note-hpost-44) When the woman stands up, she uses the opposite hand to place each breast gently into the cup (the scoop ), and she then runs her index finger along the inside top edge of the bra cup to make sure her breast tissue does not spill over the edges. [33] (#cite_note-fantasie-33) [45] (#cite_note-45) Experts suggest that women choose a bra band that fits well on the outermost hooks. [43] (#cite_note-bailly-43) [44] (#cite_note-hpost-44) This allows the wearer to use the tighter hooks on the bra strap as it stretches during its lifetime of about eight months. [44] (#cite_note-hpost-44) The band should be tight enough to support the bust, but the straps should not provide the primary support. [46] (#cite_note-46) Consumer measurement difficulties [ edit ] A bra is one of the most complicated articles of clothing to make. A typical bra design has between 20 and 48 parts, including the band, hooks, cups, lining, and straps. Major retailers place orders from manufacturers in batches of 10,000. Orders of this size require a large-scale operation to manage the cutting, sewing and packing required. [47] (#cite_note-watson-47) Constructing a properly fitting brassiere is difficult. Adelle Kirk, formerly a manager at the global Kurt Salmon (/wiki/Kurt_Salmon) management consulting firm that specializes in the apparel and retail businesses, said that making bras is complex: Bras are one of the most complex pieces of apparel. There are lots of different styles, and each style has a dozen different sizes, and within that there are a lot of colors. Furthermore, there is a lot of product engineering. You've got hooks, you've got straps, there are usually two parts to every cup, and each requires a heavy amount of sewing. It is very component intensive. [48] (#cite_note-moberg-48) Asymmetric breasts [ edit ] Obtaining the correct size is complicated by the fact that up to 25% of women's breasts display a persistent, visible breast asymmetry, [49] (#cite_note-49) which is defined as differing in size by at least one cup size. For about 5% to 10% of women, their breasts are severely different, with the left breast being larger in 62% of cases. [50] (#cite_note-50) Minor asymmetry may be resolved by wearing a padded bra, but severe cases of developmental breast deformity — commonly called "Amazon's Syndrome" by physicians — may require corrective surgery due to morphological alterations caused by variations in shape, volume, position of the breasts relative to the inframammary fold (/wiki/Inframammary_fold) , the position of the nipple-areola complex on the chest, or both. [51] (#cite_note-FOOTNOTEAracoGravanteAracoGentile2006Wieslander1999-51) Breast volume variation [ edit ] Obtaining the correct size is further complicated by the fact that the size and shape of women's breasts change, if they experience menstrual cycles (/wiki/Menstrual_cycle) , during the cycle [17] (#cite_note-FOOTNOTEWoodCameronFitzgerald2008-17) and can experience unusual or unexpectedly rapid growth in size due to pregnancy, weight (/wiki/Human_weight) gain or loss, or medical conditions. [52] (#cite_note-ghost-52) Even breathing can substantially alter the measurements. [30] (#cite_note-FOOTNOTEMcGheeSteele2006-30) Some women's breasts can change shape by as much as 20% per month: "Breasts change shape quite consistently on a month-to-month basis, but they will individually change their volume by a different amount ... Some girls will change less than 10% and other girls can change by as much as 20%." Would it be better not to wear a bra at all then? "... In fact there are very few advantages in wearing existing bras. Having a bra that's generally supportive would have significant improvement particularly in terms of stopping them going south ...The skin is what gives the breasts their support." [52] (#cite_note-ghost-52) Increases in average bra size [ edit ] In 2010, the most common bra size sold in the UK was 36D. [19] (#cite_note-telegraph_weight-19) [53] (#cite_note-iVillage-53) In 2004, market research company Mintel reported that bust sizes in the United Kingdom had increased from 1998 to 2004 in younger as well as older consumers, while a more recent study showed that the most often sold bra size in the US in 2008 was 36D. [54] (#cite_note-54) Researchers ruled out increases in population weight as the explanation and suggested it was instead likely due to more women wearing the correct, larger size. [ citation needed ] Consumer measurement methods [ edit ] Bra retailers recommend several methods for measuring band and cup size. These are based on two primary methods, either under the bust or over the bust, and sometimes both. Calculating the correct bra band size is complicated by a variety of factors. The American National Standards Institute (/wiki/American_National_Standards_Institute) states that while a voluntary consensus of sizes exists, there is much confusion to the 'true' size of clothing. [40] (#cite_note-ansi-40) As a result, bra measurement can be considered an art and a science. [1] (#cite_note-bareweb-1) Online shopping and in-person bra shopping experiences may differ because online recommendations are based on averages and in-person shopping can be completely personalized so the shopper may easily try on band sizes above and below her between measured band size. For the woman with a large cup size and a between band size, they may find their cup size is not available in local stores so may have to shop online where most large cup sizes are readily available on certain sites. Others recommend rounding to the nearest whole number. [55] (#cite_note-girdlezone-55) Band measurement methods [ edit ] There are several possible methods for measuring the bust. Underbust +0 [ edit ] A measuring tape is pulled around the torso at the inframammary fold (/wiki/Inframammary_fold) . The tape is then pulled tight while remaining horizontal and parallel to the floor. The measurement in inches is then rounded to the nearest even number for the band size. [56] (#cite_note-barenecessitiessizing-56) [57] (#cite_note-womenshealthsizing-57) As of March 2018 [update] (https://en.wikipedia.org/w/index.php?title=Bra_size&action=edit) , Kohl's uses this method for its online fitting guide. [58] (#cite_note-58) Underbust +4 [ edit ] This method begins the same way as the underbust +0 method, where a measuring tape is pulled tight around the torso under the bust while remaining horizontal. If the measurement is even, 4 is added to calculate the band size. If it is odd, 5 is added. Kohl's used this method in 2013. [59] (#cite_note-59) The "war on plus four" was a name given to a campaign (circa 2011) against this method, with underbust +0 supporters claiming that the then-ubiquitous +4 method fails to fit a majority of women. [60] (#cite_note-60) Underbust +4 method generally only applies to the US and UK sizes. Sizing chart [ edit ] Currently, many large U.S. department stores determine band size by starting with the measurement taken underneath the bust similar to the aforementioned underbust +0 and underbust +4 methods. A sizing chart or calculator then uses this measurement to determine the band size. [61] (#cite_note-mbscweb-61) Band sizes calculated using this method vary between manufacturers. Underarm/upper bust [ edit ] A measuring tape is pulled around the torso under the armpit and above the bust. Because band sizes are most commonly manufactured in even numbers, the wearer must round to the closest even number. [62] (#cite_note-62) Cup measurement methods [ edit ] Pictogram for the European bra size 70B using EN 13402-1 Bra-wearers can calculate their cup size by finding the difference between their bust size and their band size. [61] (#cite_note-mbscweb-61) [63] (#cite_note-63) The bust size, bust line measure, or over-bust measure is the measurement around the torso over the fullest part of the breasts, with the crest of the breast halfway between the elbow and shoulder, [64] (#cite_note-ytherroom-64) usually over the nipples, [65] (#cite_note-femaleontop-65) ideally while standing straight with arms to the side and wearing a properly fitted bra, [55] (#cite_note-girdlezone-55) because this practice assumes the current bra fits correctly. The measurements are made in the same units as the band size, either inches or centimetres. The cup size is calculated by subtracting the band size from the over-the-bust measurement. [66] (#cite_note-66) [67] (#cite_note-67) The meaning of cup sizes varies [ edit ] Cup sizes vary from one country to another. For example, a U.S. H-cup does not have the same size as an Australian, even though both are based on measurements in inches. The larger the cup size, the bigger the variation. [68] (#cite_note-68) Over the bust/band measurement difference and cup size [69] (#cite_note-HerRoom_sizing_chart-69) [70] (#cite_note-70) Difference (inches) <1 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 Cupsize U.S. AA A B C D DD/E DDD/F DDDD/G H I J K L M N O P Q R Cupsize Austr. AA A B C D DD E F G H I J K L M N O P Cupsize UK AA A B C D DD E F FF G GG H HH J JJ K KK L LL M Surveys of bra sizes tend to be very dependent on the population studied and how it was obtained. For instance, one U.S. study reported that the most common size was 34B, followed by 34C, that 63% were size 34 and 39% cup size B. However, the survey sample was drawn from 103 Caucasian (/wiki/Caucasian_race) student volunteers at a Midwest U.S. university aged 18–25, and excluded pregnant and nursing women. [71] (#cite_note-FOOTNOTEChenLaBatBye2010-71) Triumph Survey Country D C B A UK 57% 18% 19% 6% Denmark 50% 19% 24% 7% Netherlands 36% 27% 29% 8% Belgium 28% 28% 35% 9% France 26% 29% 38% 7% Sweden 24% 30% 33% 14% Greece 23% 28% 40% 9% Switzerland 19% 24% 43% 14% Austria 11% 27% 51% 10% Italy 10% 21% 68% 1% Plastic Surgeon Measuring System [ edit ] Measuring cup size Measurement Cup size inch cm 7.0 17.8 A 7.5 19.1 A 8.0 20.3 B 8.5 21.6 B 9.0 22.9 C 9.5 24.1 C 10.0 25.4 D 10.5 26.7 D 11.0 27.9 DD Bra-wearers who have difficulty calculating a correct cup size may be able to find a correct fit using a method adopted by plastic surgeons. Using a flexible tape measure, position the tape at the outside of the chest, under the arm, where the breast tissue begins. [72] (#cite_note-72) Measure across the fullest part of the breast, usually across the nipple, to where the breast tissue stops at the breast bone. [73] (#cite_note-jelovsek-73) Conversion of the measurement to cup size is shown in the "Measuring cup size" table. [73] (#cite_note-jelovsek-73) Note that, in general, countries that employ metric cup sizing (like in § Continental Europe (#Europe_/_International) ) have their own system of 2 cm (0.79 in) increments that result in cup sizes which differ from those using inches, since 1 inch (2.5 cm) does not equal 2 centimetres (0.79 in). [ citation needed ] These cup measurements are only correct for converting cup sizes for a 34-inch (86 cm) band to cm using this particular method, because cup size is relative to band size. [74] (#cite_note-74) This principle means that bras of differing band size can have the same volume. For example, the cup volume is the same for 30D, 32C, 34B, and 36A. These related bra sizes of the same cup volume are called sister sizes . For a list of such sizes, refer to § Calculating cup volume and breast weight (#Calculating_cup_volume_and_breast_weight) . Consumer fit research [ edit ] A 2012 study by White and Scurr University of Portsmouth (/wiki/University_of_Portsmouth) compared method that adds 4 to the band size over-the-bust method used in many United Kingdom lingerie shops with and compared that to measurements obtained using a professional method. [ citation needed ] The study relied on the professional bra-fitting method described by McGhee and Steele (2010). [75] (#cite_note-FOOTNOTEMcGheeSteele2010-75) The study [76] (#cite_note-FOOTNOTEWhiteScurr2012-76) utilized a five-step approach to obtain the best fitting bra size for an individual. The study measured 45 women using the traditional selection method that adds 4 to the band size over-the-bust method. Women tried bras on until they obtained the best fit based on professional bra fitting criteria. The researchers found that 76% of women overestimated their band and 84% underestimated their cup size. When women wear bras with too big a band, breast support is reduced. Too small a cup size may cause skin irritation. They noted that "ill-fitting bras and insufficient breast support can lead to the development of musculoskeletal pain and inhibit women participating in physical activity.". [77] (#cite_note-77) The study recommended that women should be educated about the criteria for finding a well-fitting bra. [76] (#cite_note-FOOTNOTEWhiteScurr2012-76) They recommended that women measure under their bust to determine their band size rather than the traditional over the bust measurement method. [76] (#cite_note-FOOTNOTEWhiteScurr2012-76) Manufacturer design standards [ edit ] Bra-labeling systems used around the world are at times misleading and confusing. Cup and band sizes vary around the world. [78] (#cite_note-Figleaves_fitting-78) In countries that have adopted the European EN 13402 (/wiki/EN_13402) dress-size standard, the torso is measured in centimetres and rounded to the nearest multiple of 5 cm. Bra-fitting experts in the United Kingdom state that many women who buy off the rack without professional assistance wear up to two sizes too small. [ citation needed ] Manufacturer Fruit of the Loom (/wiki/Fruit_of_the_Loom) attempted to solve the problem of finding a well-fitting bra for asymmetrical breasts by introducing Pick Your Perfect Bra, which allow women to choose a bra with two different cup sizes, although it is only available in A through D cup sizes. [79] (#cite_note-79) Approximate (band) size equivalents between various systems Under bust (cm) 58–62 63–67 68–72 73–77 78–82 83–87 88–92 93–97 98–102 103–107 108–112 113–117 118–122 123–127 128–132 133–137 138–142 Under bust (in) 24–25 26–27 28–29 30–31 32–33 34–35 36–37 38–39 40–41 42–43 44–45 46–47 48–49 50–51 52–53 54–55 56–57 EU (/wiki/European_Union) , Iran (/wiki/Iran) 60 65 70 75 80 85 90 95 100 105 110 115 120 125 130 135 140 FR (/wiki/France) , BE (/wiki/Belgium) , ES (/wiki/Spain) 75 80 85 90 95 100 105 110 115 120 125 130 135 140 145 150 155 IT (/wiki/Italy) 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 US (/wiki/United_States) , UK (/wiki/United_Kingdom) , PT (/wiki/Portugal) 28 30 32 34 36 38 40 42 44 46 48 50 52 54 56 58 60 UK (/wiki/United_Kingdom) , RoI (/wiki/Republic_of_Ireland) , PT (/wiki/Portugal) 24 26 28 30 32 34 36 38 40 42 44 46 48 50 52 54 56 AU (/wiki/Australia) , NZ (/wiki/New_Zealand) 6 8 10 12 14 16 18 20 22 24 26 28 30 32 34 36 38 UK (/wiki/United_Kingdom) dress (/wiki/Dress_sizes) 4 6 8 10 12 14 16 18 20 22 24 26 28 30 32 34 36 One very prominent discrepancy between the sizing systems is the fact that the US band sizes, based on inches, does not correspond to its centimeter based EU counterpart. There are several sizing systems in different countries. Cup size is determined by one of two methods: in the US and UK, increasing cup size every inch method; and in all other systems by increasing cup size for every two centimeters. Since one inch equals 2.54 centimeters, there is considerable discrepancy between the systems, which becomes more exaggerated as cup sizes increase. Many bras are only available in 36 sizes. [32] (#cite_note-doreen-32) UK [ edit ] These are equivalent UK cup volumes The UK and US use the inch system. The difference in chest circumference between the cup sizes is always one inch, or 2.54 cm. The difference between 2 band sizes is 2 inches or 5.08 cm. Leading brands and manufacturers including Panache, Bestform, Gossard, Freya, Curvy Kate (/wiki/Curvy_Kate) , Bravissimo (/wiki/Bravissimo_(company)) and Fantasie, which use the British standard band sizes (where underbust measurement equals band size) 28-30-32-34-36-38-40-42-44, and so on. Cup sizes are designated by AA-A-B-C-D-DD-E-F-FF-G-GG-H-HH-J-JJ-K-KK-L. [80] (#cite_note-uksizing-80) However, some clothing retailers and mail order companies have their own house brands and use a custom sizing system. Marks and Spencers (/wiki/Marks_and_Spencers) uses AA-A-B-C-D-DD-E-F-G-GG-H-J, leaving out FF and HH, in addition to following the US band sizing convention. As a result, their J-Cup is equal to a British standard H-cup. [ citation needed ] Evans and ASDA sell bras (ASDA as part of their George clothing range) whose sizing runs A-B-C-D-DD-E-F-G-H. Their H-Cup is roughly equal to a British standard G-cup. [ citation needed ] Some retailers reserve AA for young teens, and use AAA [81] (#cite_note-81) [82] (#cite_note-82) [83] (#cite_note-83) for women. Australia/New Zealand [ edit ] Australia and New Zealand cup and band sizes are in metric increases of 2 cm per cup similar to many European brands. Cup labelling methods and sizing schemes are inconsistent and there is great variability between brands. In general, cup sizes AA-DD follow UK labels but thereafter split off from this system and employ European labels (no double letters with cups progressing from F-G-H etc. for every 2 cm increase). [84] (#cite_note-84) However, a great many local manufacturers employ unique labelling systems [85] (#cite_note-85) Australia and New Zealand bra band sizes are labelled in dress size, although they are obtained by under bust measurement whilst dress sizes utilise bust-waist-hip. [86] (#cite_note-86) In practice very few of the leading Australian manufacturers produce sizes F+ and many disseminate sizing misinformation. [87] (#cite_note-87) [88] (#cite_note-88) The Australian demand for DD+ is largely met by various UK, US and European major brands. This has introduced further sizing scheme confusion that is poorly understood even by specialist retailers. [2] (https://web.archive.org/web/20180126185231/https://www.bravalingerie.com.au/content/79-bra-size-chart?content_only=1) United States [ edit ] Bra sizing in the United States is very similar to the United Kingdom. Band sizes use the same designation in inches and the cups also increase by 1-inch-steps. However, some manufacturers use conflicting sizing methods. Some label bras beyond a C cup as D-DD-DDD-DDDD-E-EE-EEE-EEEE-F..., some use the variation: D1, D2, D3, D4, D5..... but many use the following system: A, B, C, D, DD, DDD, G, H, I, J, K, L, M, N, O. and others label them like the British system D-DD-E-F-FF... Comparing the larger cup sizes between different manufacturers can be difficult. [ citation needed ] In 2013, underwear maker Jockey International (/wiki/Jockey_International) offered a new way to measure bra and cup size. It introduced a system with ten cup sizes per band size that are numbered and not lettered, designated as 1–36, 2–36 etc. The company developed the system over eight years, during which they scanned and measured the breasts and torsos of 800 women. Researchers also tracked the women's use of their bras at home. [89] (#cite_note-NYT_jockey_story-89) To implement the system, women must purchase a set of plastic cups from the company to find their Jockey cup size. Some analysts were critical of the requirement to buy the measurement kit, since women must pay about US$20 to adopt Jockey's proprietary system, in addition to the cost of the bras themselves. [89] (#cite_note-NYT_jockey_story-89) Europe / International [ edit ] Band size Underbust circumference Bust size Underbust size cm FR/BE/ES EU IT 58–62 75 60 0 63–67 80 65 1 I 68–72 85 70 2 II 73–77 90 75 3 III 78–82 95 80 4 IV, IIII 83–87 100 85 5 V 88–92 105 90 6 VI 93–97 110 95 7 VII 98–102 115 100 8 VIII 103–107 120 105 9 IX, VIIII 108–112 125 110 10 X European bra sizes are based on centimeters. They are also known as International. Abbreviations such as EU , Intl and Int are all referring to the same European bra size convention. These sizes are used in most of Europe and large parts of the world. Cup size Difference [cm] Cup 10–12 AA 12–14 A 14–16 B 16–18 C 18–20 D 20–22 E 22–24 F 24–26 G 26–28 H The underbust measurement is rounded to the nearest multiple of 5 cm. Band sizes run 65, 70, 75, 80 etc., increasing in steps of 5 cm, similar to the English double inch. A person with a measured underbust circumference of 78–82 cm should wear a band size 80. The tightness or snugness of the measurement (e.g. a tape measure or similar) depends on the adipose tissue softness. Softer tissue require tightening when measuring, this to ensure that the bra band will fit snugly on the body and stay in place. A loose measurement can, and often does, vary from the tighter measurement. This causes some confusion as a person with a loose measurement of 84 cm would think they have band size 85 but due to a lot of soft tissue the same person might have a snugger and tighter and of 79 cm and should choose the more appropriate band size of 80 or even smaller band size. The cup labels begin normally with "A" for an 13±1 cm difference between bust and underbust circumference measurement measured loosely (i.e. not tightly as for bra band size), i.e. the not between bust circumference and band size (that normally require some tightening when measured).To clarify the important difference in measuring: Underbust measuring for bra band is done snugly and tight while measuring underbust for determining bra cups is done loosely. For people with much soft adipose tissue these two measurements will not be identical. In this sense the method to determine European sizes differ compared to English systems where the cup sizes are determined by bust measurement compared to bra band size . European cups increase for every additional 2 cm in difference between bust and underbust measurement, instead of 2.5 cm or 1-inch, and except for the initial cup size letters are neither doubled nor skipped. In very large cup sizes this causes smaller cups than their English counterparts. This system has been standardized in the European dress size standard EN 13402 (/wiki/EN_13402) introduced in 2006, but was in use in many European countries before that date. South Korea/Japan [ edit ] In South Korea and Japan the torso is measured in centimetres and rounded to the nearest multiple of 5 cm. Band sizes run 65-70-75-80..., increasing in steps of 5 cm, similar to the English double inch. A person with a loosely measured underbust circumference of 78–82 cm should wear a band size 80. The cup labels begin with "AAA" for a 5±1.25 cm difference between bust and underbust circumference, i.e. similar bust circumference and band size as in the English systems. They increase in steps of 2.5 cm, and except for the initial cup size letters are neither doubled nor skipped. Japanese sizes are the same as Korean ones, but the cup labels begin with "AA" for a 7.5±1.25 cm difference and usually precedes the bust designation, i.e. "B75" instead of "75B". This system has been standardized in the Korea dress size standard KS K9404 introduced in 1999 and in Japan dress size standard JIS L4006 introduced in 1998. France/Belgium/Spain [ edit ] The French and Spanish system is a permutation of the Continental European sizing system. While cup sizes are the same, band sizes are exactly 15 cm larger than the European band size. Italy [ edit ] The Italian band size uses small consecutive integers instead of the underbust circumference rounded to the nearest multiple of 5 cm. Since it starts with size 0 for European size 60, the conversion consists of a division by 5 and then a subtraction of 12. The size designations are often given in Roman numerals (/wiki/Roman_numeral) . Cup sizes have traditionally used a step size of 2.5 cm, which is close to the English inch of 2.54 cm, and featured some double letters for large cups, but in recent years some Italian manufacturers have switched over to the European 2-cm system. Here is a conversion table for bra sizes in Italy with respect other countries: Italy I II III IV V VI VII VIII Europe 65 70 75 80 85 90 95 100 UK & USA 30 32 34 36 38 40 42 44 France & Spain 80 85 90 95 100 105 110 115 Advertising and retail influence [ edit ] Manufacturers' marketing and advertising often appeals to fashion and image over fit, comfort, and function. [30] (#cite_note-FOOTNOTEMcGheeSteele2006-30) [90] (#cite_note-mintel-90) Since about 1994, manufacturers have re-focused their advertising, moving from advertising functional brassieres that emphasize support and foundation, to selling lingerie (/wiki/Lingerie) that emphasize fashion while sacrificing basic fit and function, like linings under scratchy lace. [91] (#cite_note-91) Engineered Alternative to traditional bras [ edit ] English mechanical engineer and professor John Tyrer from Loughborough University (/wiki/Loughborough_University) has devised a solution to problematic bra fit by re-engineering bra design. He started investigating the problem of bra design while on an assignment from the British government after his wife returned disheartened from an unsuccessful shopping trip. [92] (#cite_note-bbc_bra_design_feature-92) [93] (#cite_note-seigel-93) His initial research into the extent of fitting problems soon revealed that 80% of women wear the wrong size of bra. [ citation needed ] . He theorised that this widespread practice of purchasing the wrong size was due to the measurement system recommended by bra manufacturers. This sizing system employs a combination of maximum chest diameter (under bust) and maximum bust diameter (bust) rather than the actual breast volume which is to be accommodated by the bra. According to Tyrer, "to get the most supportive and fitted bra it's infinitely better if you know the volume of the breast and the size of the back.". [92] (#cite_note-bbc_bra_design_feature-92) He says the A, B, C, D cup measurement system is flawed. "It's like measuring a motor car by the diameter of the gas cap." "The whole design is fundamentally flawed. It's an instrument of torture." [93] (#cite_note-seigel-93) Tyrer has developed a bra design with crossed straps in the back. [ citation needed ] These use the weight of one breast to lift the other using counterbalance (/wiki/Counterweight) . [ citation needed ] Standard designs constrict chest movement during breathing. [ citation needed ] One of the tools used in the development of Tyrer's design has been a projective differential shape body analyzer for 40,000 GBP (/wiki/Pound_sterling) . [ citation needed ] Breasts weigh up to ~1 kg and not ~0.2 .. 0.3 kg . [92] (#cite_note-bbc_bra_design_feature-92) [94] (#cite_note-idkt_ep24-94) [95] (#cite_note-ngcimedia_episodeid_24-95) [96] (#cite_note-lboro_festival_of_science_2009-96) Tyrer said, "By measuring the diameter of the chest and breasts current measurements are supposed to tell you something about the size and volume of each breast, but in fact it doesn't". [92] (#cite_note-bbc_bra_design_feature-92) Bra companies remain reluctant to manufacture Tyrer's prototype, [93] (#cite_note-seigel-93) which is a front closing bra with more vertical orientation and adjustable cups. [93] (#cite_note-seigel-93) Calculating cup volume and breast weight [ edit ] The average breast weighs about 0.5 kilograms (1.1 lb). [97] (#cite_note-FOOTNOTEKatchCampaigneFreedsonSady1980-97) Each breast contributes to about 4–5% of the body fat (/wiki/Body_fat_percentage) . [98] (#cite_note-Interesting_facts_about_boobs-98) The density of fatty tissue is more or less equal to 0.9 g/cm 3 (0.52 oz/cu in) [99] (#cite_note-The_Density_of_Fat-99) If a cup is a hemisphere, its volume V is given by the following formula: [100] (#cite_note-nanas-100) V = 2 π π r 3 3 = π π D 3 12 {\displaystyle V={\frac {2\pi r^{3}}{3}}={\frac {\pi D^{3}}{12}}} where r is the radius of the cup, and D is its diameter. If the cup is a hemi- ellipsoid (/wiki/Ellipsoid) , its volume is given by the formula (/wiki/Ellipsoid#Volume) : V = 2 π π a b c 3 ≈ ≈ π π × × c w × × c d × × w l 12 {\displaystyle V={\frac {2\pi abc}{3}}\approx {\frac {\pi \times cw\times cd\times wl}{12}}} where a , b and c are the three semi-axes of the hemi-ellipsoid, and cw , cd and wl are respectively the cup width, the cup depth and the length of the wire. Cups give a hemi-spherical shape to breasts and underwires give shape to cups. [ citation needed ] So the curvature radius of the underwire is the key parameter to determine volume and weight of the breast. [ citation needed ] The same underwires are used for the cups of sizes 36A, 34B, 32C, 30D etc. ... so those cups have the same volume. [ citation needed ] The reference numbers of underwire sizes are based on a B cup bra, [101] (#cite_note-underwire_charts-101) for example underwire size 32 is for 32B cup (and 34A, 30C...). An underwire size 30 width has a curvature diameter of 3 + 5 ⁄ 6 inches (9.7 cm) and this diameter increases by 1 ⁄ 3 inch (0.85 cm) by size. [101] (#cite_note-underwire_charts-101) The table below shows volume calculations for some cups that can be found in a ready-to-wear large size shop. [102] (#cite_note-Plussize_Chart-102) Underwire size Bra size (US system) Bra size (UK system) Cup diameter [101] (#cite_note-underwire_charts-101) Volume of one cup Weight of both breasts 30 32A 30B 28C 32A 30B 28C 9.7 cm ( 3 + 5 ⁄ 6 in) 240 cm 3 (15 cu in) 0.43 kg (0.95 lb) 32 34A 32B 30C 28D 34A 32B 30C 28D 10.6 cm ( 4 + 1 ⁄ 6 in) 310 cm 3 (19 cu in) 0.56 kg (1.2 lb) 34 36A 34B 32C 30D 28E 36A 34B 32C 30D 28DD 11.4 cm ( 4 + 1 ⁄ 2 in) 390 cm 3 (24 cu in) 0.70 kg (1.5 lb) 36 38A 36B 34C 32D 30E 28F 38A 36B 34C 32D 30DD 28E 12.3 cm ( 4 + 5 ⁄ 6 in) 480 cm 3 (29 cu in) 0.86 kg (1.9 lb) 38 40A 38B 36C 34D 32E 30F 28G 40A 38B 36C 34D 32DD 30E 28F 13.1 cm ( 5 + 1 ⁄ 6 in) 590 cm 3 (36 cu in) 1.1 kg (2.4 lb) 40 42A 40B 38C 36D 34E 32F 30G 28H 42A 40B 38C 36D 34DD 32E 30F 28FF 14.0 cm ( 5 + 1 ⁄ 2 in) 710 cm 3 (43 cu in) 1.3 kg (2.9 lb) 42 44A 42B 40C 38D 36E 34F 32G 30H 28I 44A 42B 40C 38D 36DD 34E 32F 30FF 28G 14.8 cm ( 5 + 5 ⁄ 6 in) 850 cm 3 (52 cu in) 1.5 kg (3.3 lb) 44 44B 42C 40D 38E 36F 34G 32H 30I 28J 44B 42C 40D 38DD 36E 34F 32FF 30G 28GG 15.7 cm ( 6 + 1 ⁄ 6 in) 1,000 cm 3 (61 cu in) 1.8 kg (4.0 lb) 46 44C 42D 40E 38F 36G 34H 32I 30J 28K 44C 42D 40DD 38E 36F 34FF 32G 30GG 28H 16.5 cm ( 6 + 1 ⁄ 2 in) 1,180 cm 3 (72 cu in) 2.1 kg (4.6 lb) 48 44D 42E 40F 38G 36H 34I 32J 30K 28L 44D 42DD 40E 38F 36FF 34G 32GG 30H 28HH 17.4 cm ( 6 + 5 ⁄ 6 in) 1,370 cm 3 (84 cu in) 2.5 kg (5.5 lb) 50 44E 42F 40G 38H 36I 34J 32K 30L 28M 44DD 42E 40F 38FF 36G 34GG 32H 30HH 28J 18.2 cm ( 7 + 1 ⁄ 6 in) 1,580 cm 3 (96 cu in) 2.8 kg (6.2 lb) 52 44F 42G 40H 38I 36J 34K 32L 30M 28N 44E 42F 40FF 38G 36GG 34H 32HH 30J 28JJ 19.0 cm ( 7 + 1 ⁄ 2 in) 1,810 cm 3 (110 cu in) 3.3 kg (7.3 lb) 54 44G 42H 40I 38J 36K 34L 32M 30N 28O 44F 42FF 40G 38GG 36H 34HH 32J 30JJ 28K 19.9 cm ( 7 + 5 ⁄ 6 in) 2,060 cm 3 (126 cu in) 3.7 kg (8.2 lb) 56 44H 42I 40J 38K 36L 34M 32N 30O 28P 44FF 42G 40GG 38H 36HH 34J 32JJ 30K 28KK 20.7 cm ( 8 + 1 ⁄ 6 in) 2,340 cm 3 (143 cu in) 4.2 kg (9.3 lb) 58 44I 42J 40K 38L 36M 34N 32O 30P 44G 42GG 40H 38HH 36J 34JJ 32K 30KK 21.6 cm ( 8 + 1 ⁄ 2 in) 2,640 cm 3 (161 cu in) 4.8 kg (11 lb) 60 44J 42K 40L 38M 36N 34O 32P 44GG 42H 40HH 38J 36JJ 34K 32KK 22.4 cm ( 8 + 5 ⁄ 6 in) 3,000 cm 3 (180 cu in) 5.3 kg (12 lb) See also [ edit ] Fashion portal (/wiki/Portal:Fashion) History of bras (/wiki/History_of_bras) List of bra designs (/wiki/List_of_bra_designs) Nursing bra (/wiki/Nursing_bra) Underwire bra (/wiki/Underwire_bra) Wonderbra (/wiki/Wonderbra) Notes [ edit ] ^ Jump up to: a b "Find Your Bra Size" (http://www.barenecessities.com/fit_sizing.aspx) . BareWeb Inc. Archived (https://web.archive.org/web/20110219210256/http://www.barenecessities.com/fit_sizing.aspx) from the original on 19 February 2011 . Retrieved 30 January 2011 . ^ (#cite_ref-FOOTNOTEPechter1998_2-0) Pechter 1998 (#CITEREFPechter1998) . ^ (#cite_ref-3) "Why most women wear wrong bra size" (http://www.cupmysize.com/women-wear-wrong-size-bra/) . Cupmysize.com. 23 September 2016. Archived (https://web.archive.org/web/20161001224034/http://www.cupmysize.com/women-wear-wrong-size-bra/) from the original on 1 October 2016 . 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"Medfödd bröstdeformitet allvarligt handikapp: Viktig indikation för bröstrekonstruktion med silikonimplantat" (http://www.lakartidningen.se/OldPdfFiles/1999/19290.pdf) [Congenital Breast Deformity is a Serious Handicap: An Important Indication for Breast Reconstruction with Silicone Implants] (PDF) . Läkartidningen (in Swedish). 96 (14): 1703–1705, 1708–1710. ISSN (/wiki/ISSN_(identifier)) 1652-7518 (https://www.worldcat.org/issn/1652-7518) . PMID (/wiki/PMID_(identifier)) 10222685 (https://pubmed.ncbi.nlm.nih.gov/10222685) . Retrieved 27 July 2016 . Wood, Katherine; Cameron, Melainie; Fitzgerald, Kylie (2008). "Breast Size, Bra Fit and Thoracic Pain in Young Women: A Correlational Study" (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2275741) . Chiropractic & Osteopathy . 16 : 1. doi (/wiki/Doi_(identifier)) : 10.1186/1746-1340-16-1 (https://doi.org/10.1186%2F1746-1340-16-1) . PMC (/wiki/PMC_(identifier)) 2275741 (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2275741) . PMID (/wiki/PMID_(identifier)) 18339205 (https://pubmed.ncbi.nlm.nih.gov/18339205) . Zhenga, Rong; Yu, Winnie; Fan, Jintu (2007). "Development of a New Chinese Bra Sizing System Based on Breast Anthropometric Measurements". International Journal of Industrial Ergonomics . 37 (8): 697–705. doi (/wiki/Doi_(identifier)) : 10.1016/j.ergon.2007.05.008 (https://doi.org/10.1016%2Fj.ergon.2007.05.008) . hdl (/wiki/Hdl_(identifier)) : 10397/25618 (https://hdl.handle.net/10397%2F25618) . Further reading [ edit ] Jahme, Carole (14 May 2010). "Breast size: a human anomaly" (https://www.theguardian.com/science/2010/may/14/breast-size-evolution) . Ask Carole (column). The Guardian (/wiki/The_Guardian) . London . Retrieved 17 January 2017 . 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Men's semi-formal daytime attire This article is about a specific dress code. For black lounge suits in general, see lounge suit (/wiki/Lounge_suit) . U.K. Prime Minister (/wiki/Prime_Minister_of_the_United_Kingdom) Winston Churchill (/wiki/Winston_Churchill) in 1943, giving his famous 'V' sign during World War II (/wiki/World_War_II) on Downing Street (/wiki/Downing_Street) , London (/wiki/London) , wearing a black lounge suit with formal trousers (/wiki/Formal_trousers) , dotted bowtie (/wiki/Bowtie) , dark waistcoat (/wiki/Waistcoat) , homburg hat (/wiki/Homburg_(hat)) , and a walking stick (/wiki/Walking_stick) Part of a series (/wiki/Category:Formal_wear) on Western dress codes (/wiki/Western_dress_codes) and corresponding attires (/wiki/Clothing) Formal (/wiki/Formal_wear) ( full dress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) ) White tie (/wiki/White_tie) Morning dress (/wiki/Morning_dress) Full dress uniform (/wiki/Full_dress_uniform) Frock coat (/wiki/Frock_coat) Evening gown (/wiki/Evening_gown) Ball gown (/wiki/Ball_gown) Semi-formal (/wiki/Semi-formal_wear) ( half dress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) ) Black tie (/wiki/Black_tie) Black lounge suit Mess dress uniform (/wiki/Mess_dress_uniform) Evening gown (/wiki/Evening_gown) Cocktail dress (/wiki/Cocktail_dress) Informal (/wiki/Informal_wear) ( undress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) , "dress clothes") Suit (/wiki/Suit) Service dress uniform (/wiki/Service_dress_uniform) Cocktail dress (/wiki/Cocktail_dress) Pantsuit (/wiki/Pantsuit) Casual (/wiki/Casual_wear) (anything not above) Business casual (/wiki/Business_casual) Casual Friday (/wiki/Casual_Friday) Combat uniform (/wiki/Combat_uniform) Smart casual (/wiki/Smart_casual) Workwear (/wiki/Workwear) Streetwear (/wiki/Streetwear) Sportswear (/wiki/Sportswear) known as Sportswear (fashion) (/wiki/Sportswear_(fashion)) and Athleisure (/wiki/Athleisure) Undress (/wiki/Undress_code) Supplementary alternatives Ceremonial dress (/wiki/Ceremonial_dress) law courts (/wiki/Court_dress) royal courts (/wiki/Court_uniform_and_dress_in_the_United_Kingdom) diplomatic (/wiki/Diplomatic_uniform) academic (/wiki/Academic_dress) , etc. Religious clothing (/wiki/Religious_clothing) cassock (/wiki/Cassock) , habit (/wiki/Religious_habit) , etc. Folk costume (/wiki/Folk_costume) Distinctions Orders (/wiki/Order_(distinction)) medals (/wiki/Medal) , etc. Legend: = Day (before 6 p.m.) = Evening (after 6 p.m.) = Bow tie (/wiki/Bow_tie) colour = Ladies = Gentlemen Fashion portal (/wiki/Portal:Fashion) v t e The black lounge suit ( UK (/wiki/United_Kingdom) ), stroller ( U.S. (/wiki/U.S.) ), or Stresemann ( Continental Europe (/wiki/Continental_Europe) ), is a men's day attire (/wiki/Morning_dress) semi-formal (/wiki/Semi-formal) intermediate of a formal (/wiki/Formal_wear) morning dress (/wiki/Morning_dress) and an informal (/wiki/Informal_wear) lounge suit (/wiki/Lounge_suit) ; comprising grey striped or checked formal trousers (/wiki/Formal_trousers) , but distinguished by a conventional-length lounge jacket (/wiki/Lounge_jacket) , single- or double-breasted in black, midnight blue (/wiki/Midnight_blue) or grey. [1] (#cite_note-1) This makes it largely identical to the formal morning dress from which it is derived, only having exchanged the morning coat (/wiki/Morning_coat) with a suit jacket, yet with equivalent options otherwise, such as necktie (/wiki/Necktie) or bowtie (/wiki/Bowtie) for neckwear (/wiki/Neckwear) , a waistcoat (/wiki/Waistcoat) (typically black, grey, or buff (/wiki/Buff_(colour)) ), French cuffs (/wiki/French_cuff) dress shirt (/wiki/Dress_shirt) of optional collar (/wiki/Collar_(clothing)) type, and black dress shoes (/wiki/Dress_shoe) or dress boots (/wiki/Dress_boot) . The correct hat would be a semi-formal homburg (/wiki/Homburg_hat) , bowler (/wiki/Bowler_hat) , or boater hat (/wiki/Boater_hat) . Just as morning dress is considered the formal daytime equivalent of formal evening attire dress coat (/wiki/Dress_coat) i e. white tie (/wiki/White_tie) , so the stroller is considered the semi-formal daytime equivalent of the semi-formal evening attire dinner jacket, i.e. black tie (/wiki/Black_tie) (also called tuxedo). Unlike other dress codes, there is no clear equivalent for women, though typical morning dress and cocktail dress (/wiki/Cocktail_dress) have both been identified as alternatives. Wearing a black lounge suit the traditional way with formal trousers largely fell out of use following the counterculture of the 1960s (/wiki/Counterculture_of_the_1960s) , although its practice has still been observed occasionally ever since. For semi-formal wedding (/wiki/Wedding) day attire (/wiki/Morning_dress) , the groom (/wiki/Groom) may dress in a dark-grey suit jacket with a dove-grey or buff waistcoat and optionally a wedding tie (/wiki/Morning_dress#Neck_wear) . For a semi-formal funeral (/wiki/Funeral) day attire, the mourner may wear a matching black jacket and waistcoat presumably with a black necktie. Name [ edit ] In British English (/wiki/British_English) , it is called a black lounge suit . Since black was reserved for formal wear (/wiki/Formal_wear) , it was unknown as a colour for lounge suits (/wiki/Lounge_suit) , so the term was unambiguous. It has also been referred to as a Marlborough suit in the U.K. In American English (/wiki/American_English) the style is referred to as a stroller suit , club coat or sack coat . [2] (#cite_note-2) Around continental Europe (/wiki/Continental_Europe) , the style is often called a Stresemann after the German chancellor (/wiki/Chancellor_of_Germany_(German_Reich)) Gustav Stresemann (/wiki/Gustav_Stresemann) (1878–1929) of the Weimar Republic (/wiki/Weimar_Republic) , who wore the style as an alternative to the morning coat (/wiki/Morning_coat) . In German it is also known as Bonner Anzug (English: " Bonn (/wiki/Bonn) suit") after the capital of post World War II (/wiki/World_War_II) Western Germany (/wiki/Western_Germany) . It is also known as a director's suit from the term inside director (/wiki/Inside_director) (especially in Japan (/wiki/Japan) ), or citydress . History [ edit ] Background: Max Alvary (/wiki/Max_Alvary) (1856–1898) in a black lounge suit before the conventional name of it in 1896. Argentine pianist (/wiki/Pianist) and conductor (/wiki/Conducting) Daniel Barenboim (/wiki/Daniel_Barenboim) (born 1942) at the Musikverein (/wiki/Musikverein) in Vienna (/wiki/Vienna) , Austria (/wiki/Austria) (2008). While early prototypes of black lounge suits did occur in the late 19th century, the current form was settled around 1900. [3] (#cite_note-3) Stresemann famously wore the suit during the negotiations of the Locarno Treaties (/wiki/Locarno_Treaties) in 1925, and in Germany it became synonymous with him. Winston Churchill (/wiki/Winston_Churchill) is depicted in many photographs and paintings wearing a black lounge suit and striped formal trousers while serving as Prime Minister (/wiki/Prime_Minister_of_the_UK) of the United Kingdom (/wiki/United_Kingdom) . In the United Kingdom this mode of dress is now unusual, though the dress code sometimes does occur in fraternal orders (/wiki/Fraternal_order) such as Freemasonry (/wiki/Freemasonry) for semi-formal daytime meetings. It is also still worn within the legal profession (/wiki/Legal_profession) , especially by barristers (/wiki/Barrister) . Indeed, the striped formal trousers (/wiki/Formal_trouser) are in some circles referred to as "barrister trousers". The stroller's apparent decline in use, as opposed to the staying power of its evening counterpart the dinner jacket, could be attributed to several factors: daytime formality in general, and specifically the standard of changing clothes for various occasions, fell out of general use in post- World War II (/wiki/World_War_II) Western culture; and strollers were sometimes associated with uniformed servants (/wiki/Servant) , a concept which had also fallen out of favour. By the late 20th century, fictional characters in media depicted wearing strollers were often portrayed as self-important or inflexible snobs (/wiki/Snob) , often in opposition to more sympathetic characters dressed casually. Traditionally, in Continental Europe (/wiki/Continental_Europe) and the British Commonwealth of Nations (/wiki/Commonwealth_of_Nations) , morning dress (/wiki/Morning_dress) is worn to formal day events, and white tie (/wiki/White_tie) for formal evening events. However, when both dress codes declined in use in the United States (/wiki/United_States) , this also affected the use of the stroller. Yet, notably, at his first inauguration (/wiki/First_inauguration_of_Ronald_Reagan) in 1981, former U.S. President (/wiki/U.S._President) Ronald Reagan (/wiki/Ronald_Reagan) wore a black stroller. When his planned attire was announced it generated some controversy among D.C. lawmakers who thought they were being told to acquire such suits as well. [4] (#cite_note-4) In media [ edit ] Gentlemen's valets (/wiki/Valet) of the early 20th century are often depicted in television and film wearing black lounge suits as their standard apparel. In the 1964 Walt Disney (/wiki/Walt_Disney) film Mary Poppins (/wiki/Mary_Poppins_(film)) (set in the 1910s), the character of Mr. Banks wears a black lounge suit to work every day at the bank. On Her Majesty's Secret Service (/wiki/On_Her_Majesty%27s_Secret_Service_(film)) (1969) of the James Bond films (/wiki/List_of_James_Bond_films) features a black lounge suit wedding (/wiki/Wedding) . The Pan Tau (/wiki/Pan_Tau) children's television series (/wiki/Children%27s_television_series) (1969–1978) features a black lounge suit-wearing protagonist with the same name. In the long-running BBC (/wiki/BBC) sitcom Are You Being Served? (/wiki/Are_You_Being_Served%3F) (1972-1985), the character Captain Peacock (/wiki/Captain_Peacock) always wore a stroller as the store's floorwalker. The character of John Bates of Downton Abbey (/wiki/Downton_Abbey) (2010–2015) typically appears in a stroller while serving as his lord (/wiki/Lord) 's valet. In the German neo-noir (/wiki/Neo-noir) crime drama (/wiki/Crime_drama) Babylon Berlin (/wiki/Babylon_Berlin) (2017-), set during the Weimar Republic (/wiki/Weimar_Republic) , German Foreign Minister (/wiki/Minister_for_Foreign_Affairs_(Germany)) Gustav Stresemann (/wiki/Gustav_Stresemann) wears a Stresemann suit accordingly. Gallery [ edit ] Caricature of Edmond François Valentin About (/wiki/Edmond_Fran%C3%A7ois_Valentin_About) in Vanity Fair (/wiki/Vanity_Fair_(UK_magazine)) (20 November 1880) William C. Mooney (/wiki/William_C._Mooney) , congressman (/wiki/Congressman) from Woodsfield (/wiki/Woodsfield) , Ohio (/wiki/Ohio) , United States (/wiki/United_States) , in stroller and bowler hat (/wiki/Bowler_hat) (1915) Gustav Stresemann (sitting on the right, with Augustinas Voldemaras (/wiki/Augustinas_Voldemaras) ), Berlin (1928) A stroller in an exhibition of the Textilfabrik Cromford (/wiki/Textilfabrik_Cromford) , Ratingen (/wiki/Ratingen) , Germany (/wiki/Germany) Further detail U.S. President (/wiki/U.S._President) Ronald Reagan (/wiki/Ronald_Reagan) and wife Nancy Reagan (/wiki/Nancy_Reagan) waving from the limousine during the inaugural parade (/wiki/First_inauguration_of_Ronald_Reagan) in Washington, D.C. (/wiki/Washington,_D.C.) (1981) President Kennedy wears a black lounge to a diplomatic reception at the White House in 1961 President Carter, Vice President Mondale and President elect Reagan in stroller suits before Reagan's Inauguration in January 1981. Eleven years old Prince Albert Victor (/wiki/Prince_Albert_Victor) in black lounge suit. See also [ edit ] Suit (/wiki/Suit) Western dress codes (/wiki/Western_dress_codes) References [ edit ] ^ (#cite_ref-1) Book of Etiquette (1931), Lady Troubridge ^ (#cite_ref-2) "Where Have All the Haberdashers Gone?" (https://chicagotribune.com/news/ct-xpm-1997-01-02-9701020106-story,amp.html) . Chicago Tribune (/wiki/Chicago_Tribune) . ^ (#cite_ref-3) Duka, John (2 January 1981). "Inauguration Day '81: A Sartorial Controversy" (https://www.nytimes.com/1981/01/02/style/inauguration-day-81-a-sartorial-controversy.html) . The New York Times . ^ (#cite_ref-4) Duka, John (2 January 1981). "Inauguration Day '81: A Sartorial Controversy" (https://www.nytimes.com/1981/01/02/style/inauguration-day-81-a-sartorial-controversy.html) . The New York Times . 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Informal (/wiki/Informal_wear) Suit (/wiki/Suit) Casual (/wiki/Casual_wear) Wedding dress (/wiki/Wedding_dress) Contemporary (/wiki/Contemporary_Western_wedding_dress) Bridal crown (/wiki/Bridal_crown) Dress (/wiki/Dress) Evening gown (/wiki/Evening_gown) Ball gown (/wiki/Ball_gown) Debutante (/wiki/D%C3%A9butante_dress) Opera gloves (/wiki/Evening_glove) Cocktail dress (/wiki/Cocktail_dress) Garters (/wiki/Garter) Casual (/wiki/Casual_wear) Equipment Balloon (/wiki/Balloon) Balloon modelling (/wiki/Balloon_modelling) Confetti (/wiki/Confetti) Cotton candy (/wiki/Cotton_candy) Deely bobber (/wiki/Deely_bobber) Glow stick (/wiki/Glow_stick) Groucho glasses (/wiki/Groucho_glasses) Party hat (/wiki/Party_hat) New Year's glasses (/wiki/New_Year%27s_glasses) Party bus (/wiki/Party_bus) Party horn (/wiki/Party_horn) Party popper (/wiki/Party_popper) Serpentine streamer (/wiki/Serpentine_streamer) Society portal (/wiki/Portal:Society) Media (https://commons.wikimedia.org/wiki/Category:Parties) Category (/wiki/Category:Parties) v t e Fashion (/wiki/Fashion) articles Index of fashion articles (/wiki/Index_of_fashion_articles) General Environmental impact of fashion (/wiki/Environmental_impact_of_fashion) Fashion accessory (/wiki/Fashion_accessory) Fashion design (/wiki/Fashion_design) Fashion design copyright (/wiki/Fashion_design_copyright) Fashion matrix (/wiki/Fashion_matrix) Fashion museum (/wiki/Fashion_museum) Fashion plate (/wiki/Fashion_plate) Fashion tourism (/wiki/Fashion_tourism) Semiotics of fashion (/wiki/Semiotics_of_fashion) History (/wiki/History_of_fashion_design) History of clothing and textiles (/wiki/History_of_clothing_and_textiles) History of Western fashion (/wiki/History_of_Western_fashion) History of fashion design (/wiki/History_of_fashion_design) Timeline of clothing and textiles technology (/wiki/Timeline_of_clothing_and_textiles_technology) 19th century (/wiki/19th_century_in_fashion) 21st 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Equipment that protects the shin from injury Football shin pad. A shin guard or shin pad is a piece of equipment (/wiki/Tool) worn on the front of an athlete's shin (/wiki/Tibia) to protect it from injury. These are commonly used in sports (/wiki/Sport) including association football (/wiki/Association_football) , baseball (/wiki/Baseball) , ice hockey (/wiki/Ice_hockey) , field hockey (/wiki/Field_hockey) , lacrosse (/wiki/Lacrosse) , cricket (/wiki/Cricket) and mountain bike trials (/wiki/Mountain_bike_trials) . They are also used in combat sports (/wiki/Combat_sport) and martial arts (/wiki/Martial_arts) competitions including kickboxing (/wiki/Kickboxing) , mixed martial arts (/wiki/Mixed_martial_arts) , taekwondo (/wiki/Taekwondo) , karate (/wiki/Karate) and professional wrestling (/wiki/Professional_wrestling) . This is due to either being required by the rules/laws of the sport or worn voluntarily by the participants for protective measures. Materials [ edit ] Modern day shin guards are made of many differing synthetic materials (/wiki/Synthetic_fiber) , including, but not limited to: Fibreglass (/wiki/Fiberglass) - Stiff, sturdy, and light weight. Foam rubber (/wiki/Foam_rubber) - Very light weight, but not as sturdy and solid as fibreglass. Polyurethane (/wiki/Polyurethane) - Heavy and sturdy, which offers almost complete protection from most impacts. Plastic (/wiki/Plastic) - Less protective than any of the other synthetic shin guards. Metal (/wiki/Metal) - Highly protective, but very heavy and uncomfortable. History [ edit ] The shin guard was inspired by the concept of a greave (/wiki/Greave) . A greave is a piece of armour (/wiki/Armour) used to protect the shin. It is a Middle English term, derived from an Old French word, greve (pronounced gri’v), meaning shin or shin armour. [1] (#cite_note-1) The etymology (/wiki/Etymology) of this word not only describes the use and purpose of shin guards, but also contributes to dating the technology. This technology dates back to ancient times (/wiki/Ancient_times) as early as Greek (/wiki/Ancient_Greece) and Roman (/wiki/Ancient_Rome) Republics. Back then, shin guards were viewed as purely protective measures for warriors (/wiki/Warrior) in battle (/wiki/Battle) and were made of bronze or other hard, sturdy materials. The earliest known physical proof of the technology appeared when archaeologist (/wiki/Archaeologist) Sir William Temple (/wiki/Sir_William_Temple,_1st_Baronet) discovered a pair of bronze greaves with a Gorgon (/wiki/Gorgon) 's head design in the relief on each knee capsule. It was estimated that the greaves were made in Apulia (/wiki/Apulia) , a region in Southern Italy, around 550/500 B.C. [2] (#cite_note-2) This area fell under the Roman Empire boundaries and is known as today as the Salento Peninsula (/wiki/Salento_Peninsula) ; it is more commonly known as the heel of Italy (/wiki/Italy) . [3] (#cite_note-3) This discovery is not considered the oldest known application of shin guards, but all other references lie in written or pictorial medians. The oldest known reference to shin guards was a written verse in the Bible (/wiki/Bible) . 1 Samuel (/wiki/1_Samuel) 17:6 describes Goliath (/wiki/Goliath) , a Philistine champion from Gath (/wiki/Gath_(city)) , who wore a bronze helmet, coat of mail, and bronze leggings. [4] (#cite_note-4) The Book of Samuel (/wiki/Book_of_Samuel) is commonly accepted to be written by Prophets (/wiki/Prophet) Samuel, Nathan, and Gad between 960 and 700 B.C. [5] (#cite_note-5) Later, more concrete, examples of the shin guard concept resurfaced in the Middle Ages (/wiki/Middle_Ages) . All studies and evidence show greaves were improved to cover the entire lower leg, front and back, from the feet to the knees, and were mostly made of cloth, leather, or iron. [6] (#cite_note-6) As time progressed into the 19th century a major shift in the application of shin guards occurred. The overall purpose of protecting the shin was maintained, but instead of being used for fighting (/wiki/Fighting) , it became applied to sports (/wiki/Sport) . This paradigm shift dominates today's market use of shin guards as they are used mostly in sports. Other applications do exist though for protecting the lower leg in other physical activities (/wiki/Physical_activity) such as hiking (/wiki/Hiking) , mixed martial arts (/wiki/Mixed_martial_arts) , and kickboxing (/wiki/Kickboxing) , but all these activities can also be considered for sport instead of being necessary in battle. Cricket (/wiki/Cricket) was the first sport to adopt the use of shin guards. The introduction of this equipment was not motivated by the need for protection, but rather a strategic device to gain an advantage for the batsman. The batsman who wore the leg pads was able to cover the stumps (/wiki/Stump_(cricket)) with his protected legs and prevent the ball from hitting the stumps, instead the ball bowled into the batsman. [7] (#cite_note-7) Thus, the protection provided by the leg pads provided the batsman confidence to play without suffering pain or injury. This resulted in an offensive advantage; instead of hitting the wickets (/wiki/Wicket) to get the batsman out, the bowler (/wiki/Bowler_(cricket)) hits the batsman giving him another chance to hit the ball (/wiki/Ball) . This was addressed in 1809 with a rule change called leg before wicket (/wiki/Leg_before_wicket) , where the umpire (/wiki/Umpire_(cricket)) was allowed to deduce whether the ball would have hit the stumps if the batter was not hit first. [8] (#cite_note-8) Leg pads became more popular as protective measures against the impact from the ball and are worn by the batsman (/wiki/Batsman) , the wicket-keeper (/wiki/Wicket-keeper) , and the fielders (/wiki/Fielding_(cricket)) that are fielding in close to the batsman. Association football was the next major sport to see the introduction of the shin guard. Sam Weller Widdowson (/wiki/Sam_Weller_Widdowson) is credited for bringing shin guards to the sport in 1874. He played cricket for Nottinghamshire (/wiki/Nottinghamshire_County_Cricket_Club) and football for Nottingham Forest (/wiki/Nottingham_Forest_F.C.) , [9] (#cite_note-9) and he got the idea to protect himself based on his cricket experiences. [10] (#cite_note-10) Widdowson cut down a pair of cricket shin pads and strapped them to the outside of his stockings (/wiki/Stocking) using straps of leather. [11] (#cite_note-11) Other players ridiculed him initially, but shin guards eventually caught on as players saw the practical use of protecting their shins. [12] (#cite_note-12) Today, there are a two basic types of shin guards used in association football: slip-in shin guards and ankle shin guards. [13] (#cite_note-Soccer_Shin_Guards-13) In baseball, one of the innovators of the modern shin guard, New York Giants catcher Roger Bresnahan (/wiki/Roger_Bresnahan) , began wearing shin guards in 1907. [14] (#cite_note-ASecondLook-14) Made of leather, the guards were fastened with straps and hooks. [14] (#cite_note-ASecondLook-14) Batters (/wiki/Batter_(baseball)) began wearing shin guards at the plate in the late 1980s and early 1990s. [15] (#cite_note-15) Nick Swisher (/wiki/Nick_Swisher) wearing a shin guard while batting After the application of shin guards in association football, they quickly spread to other sports and are now considered necessary for most contact sports. See also [ edit ] Baseball portal (/wiki/Portal:Baseball) Fashion portal (/wiki/Portal:Fashion) Baseball clothing and equipment (/wiki/Baseball_clothing_and_equipment) Chaps (/wiki/Chaps) Cricket clothing and equipment (/wiki/Cricket_clothing_and_equipment) References [ edit ] ^ (#cite_ref-1) "Greave." Def. 1a. World Dictionary. Oxford Dictionaries: The World's Most Trusted Dictionaries. Oxford University Press, 2011. Web. 11 Nov. 2011. (http://oxforddictionaries.com/definition/greave) ^ (#cite_ref-2) Jastrow. Bronze Greaves BM GR1856.12-26.615. 2006. Photograph. The Greeks in Southern Italy, The British Museum, Upper Floor, Room 73, London, United Kingdom. ^ (#cite_ref-3) "The Roman Empire." Map. Illustrated History of The Roman Empire. Roman-Empire.net. Web. 11 Nov. 2011. (http://www.roman-empire.net/maps/map-empire.html) ^ (#cite_ref-4) 1 Samuel. Student's Life Application Bible. Wheaton: Tyndale House, 1997. Print. New Living Translation ^ (#cite_ref-5) Coogan, Michael D. A Brief Introduction to the Old Testament: the Hebrew Bible in Its Context. New Oxford University Press, 2009. Print. ^ (#cite_ref-6) "All Things Medieval | Greaves" (https://web.archive.org/web/20200709053102/http://medieval.stormthecastle.com/armorypages/greaves.htm) . medieval.stormthecastle.com . Archived from the original (http://medieval.stormthecastle.com/armorypages/greaves.htm) on 9 July 2020 . Retrieved 11 November 2011 . ^ (#cite_ref-7) Bowen, Rowland. Cricket: a History of Its Growth and Development throughout the World;. London: Eyre & Spottiswoode, 1970. Print. ^ (#cite_ref-8) "Laws - Laws of Cricket - Laws & Spirit - Lord's." Top Stories - News - Lord's. Lord's: The Home of Cricket. Web. 12 Nov. 2011. < "Laws - Laws of Cricket - Laws & Spirit - Lord's" (https://web.archive.org/web/20130311210212/http://www.lords.org/laws-and-spirit/laws-of-cricket/laws/) . Archived from the original (http://www.lords.org/laws-and-spirit/laws-of-cricket/laws/) on 11 March 2013 . Retrieved 11 March 2013 . ^ (#cite_ref-9) "Hucknall Cricketers." Ashfield District Council. Web. 12 Nov. 2011. < "Ashfield District Council: Hucknall Cricketers" (https://archive.today/20120720180544/http://www.ashfield-dc.gov.uk/ccm/navigation/leisure-and-culture/sports/cricket/hucknall-cricketers/) . Archived from the original (http://www.ashfield-dc.gov.uk/ccm/navigation/leisure-and-culture/sports/cricket/hucknall-cricketers/) on 20 July 2012 . Retrieved 28 November 2011 . >. ^ (#cite_ref-10) "1857-1887." Football Nostalgia: Seriously Soccer. Football Nostalgia. Web. < "Football nostalgia 1857-1887" (https://web.archive.org/web/20120602035316/http://www.footballnostalgia.org.uk/1857.htm) . Archived from the original (http://www.footballnostalgia.org.uk/1857.htm) on 2 June 2012 . Retrieved 28 November 2011 . >. ^ (#cite_ref-11) Cox, Richard William, Dave Russell, and Wray Vamplew. Encyclopedia of British Football. London: F. Cass, 2002. Print. ^ (#cite_ref-12) Lennox, Doug. Now You Know Big Book of Sports. Toronto: Dundurn, 2009. Print. ^ (#cite_ref-Soccer_Shin_Guards_13-0) Soccer Shin Guards (http://www.soccer.com/guide/shin-guard-guide/) , Soccer (http://soccer.com/) Archived (https://web.archive.org/web/20170821115422/https://www.soccer.com/guide/soccer-ball-guide) 21 August 2017 at the Wayback Machine (/wiki/Wayback_Machine) , 2013-10-14. Retrieved: 2013-10-14. ^ Jump up to: a b Appel, Marty. A Second Look at Hall of Famer Roger Bresnahan. Memories and Dreams (Vol. 33, No. 6; Winter 2011[-2012], p. 39). National Baseball Hall of Fame (/wiki/National_Baseball_Hall_of_Fame) official magazine. "A pair of his shin guards is ... part of the Hall of Fame's collection ...." ^ (#cite_ref-15) Curtis, Bryan (10 August 2001). "Shinguards for Batters?!" (https://slate.com/culture/2001/08/shinguards-for-batters.html) . Slate (/wiki/Slate_(magazine)) . Retrieved 27 January 2021 . 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Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Shin_guard&oldid=1233838692 (https://en.wikipedia.org/w/index.php?title=Shin_guard&oldid=1233838692) " Categories (/wiki/Help:Category) : Protective gear (/wiki/Category:Protective_gear) Sportswear (/wiki/Category:Sportswear) American football equipment (/wiki/Category:American_football_equipment) Association football equipment (/wiki/Category:Association_football_equipment) Baseball equipment (/wiki/Category:Baseball_equipment) Gaelic football equipment (/wiki/Category:Gaelic_football_equipment) Hurling equipment (/wiki/Category:Hurling_equipment) Ice hockey equipment (/wiki/Category:Ice_hockey_equipment) Rugby league equipment (/wiki/Category:Rugby_league_equipment) Rugby union equipment (/wiki/Category:Rugby_union_equipment) Hidden categories: Webarchive template wayback links (/wiki/Category:Webarchive_template_wayback_links) Articles with short description (/wiki/Category:Articles_with_short_description) Short description is different from Wikidata (/wiki/Category:Short_description_is_different_from_Wikidata) EngvarB from August 2021 (/wiki/Category:EngvarB_from_August_2021) Use dmy dates from September 2020 (/wiki/Category:Use_dmy_dates_from_September_2020) Commons category link from Wikidata (/wiki/Category:Commons_category_link_from_Wikidata) |
This article needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Hockey_pants) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed. Find sources: "Hockey pants" (https://www.google.com/search?as_eq=wikipedia&q=%22Hockey+pants%22) – news (https://www.google.com/search?tbm=nws&q=%22Hockey+pants%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Hockey+pants%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Hockey+pants%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Hockey+pants%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Hockey+pants%22&acc=on&wc=on) ( September 2014 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Hockey pants are knee-to-waist protective gear for ice hockey (/wiki/Ice_hockey) or roller hockey (/wiki/Roller_hockey) players. The pants carry a variety of padding (/wiki/Padding) depending on whether they are worn by goaltenders (/wiki/Goaltender) or skaters ( forwards (/wiki/Forward_(hockey)) and defenders (/wiki/Defenceman_(ice_hockey)) ), and also on the manufacturer. The pants are traditionally a one-piece garment with a lace (/wiki/Lace) -up fly augmented by a strap belt (/wiki/Belt_(clothing)) . Sometimes, they are additionally held up by suspenders (/wiki/Suspenders) (particularly in the case of goalie pants). Hockey pants are also called "breezers" in Michigan (/wiki/Michigan) , South Dakota (/wiki/South_Dakota) , North Dakota (/wiki/North_Dakota) , Minnesota (/wiki/Minnesota) and Wisconsin (/wiki/Wisconsin) . [1] (#cite_note-1) [2] (#cite_note-2) See also [ edit ] Sports portal (/wiki/Portal:Sports) Fashion portal (/wiki/Portal:Fashion) Cooperalls (/wiki/Cooperalls) Sportswear (activewear) (/wiki/Sportswear_(activewear)) References [ edit ] ^ (#cite_ref-1) "Glossary" (https://web.archive.org/web/20100626093717/http://www.lifetimehockey.com/resources/glossary.html) . Lifetime Hockey . Archived from the original (http://www.lifetimehockey.com/resources/glossary.html) on 26 June 2010 . Retrieved 27 April 2014 . ^ (#cite_ref-2) "What Are Hockey Breezers? (Explained for Beginners)" (https://web.archive.org/web/20221026001820/https://hockeyquestion.com/what-are-hockey-breezers/) . HockeyQuestion . Archived from the original (https://hockeyquestion.com/what-are-hockey-breezers/) on 26 October 2022 . 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Event of displaying latest clothing and apparel collection For other uses, see Fashion show (disambiguation) (/wiki/Fashion_show_(disambiguation)) . Liu Wen (/wiki/Liu_Wen_(model)) , a supermodel (/wiki/Supermodel) , walking the catwalk as she models fashions by designer Diane von Fürstenberg (/wiki/Diane_von_F%C3%BCrstenberg) at New York Fashion Week (/wiki/New_York_Fashion_Week) in 2013 A fashion show ( French (/wiki/French_language) défilé de mode ) is an event put on by a fashion designer (/wiki/Fashion_designer) to showcase their upcoming line of clothing and/or accessories (/wiki/Fashion_accessory) during a fashion week (/wiki/Fashion_week) . Fashion shows debut every season, particularly the spring/summer and fall/winter seasons. This is where designers seek to promote their new fashions. The four major fashion weeks in the world, collectively known as the "Big 4", in chronological order of their eponymous (/wiki/Eponymous) fashion weeks, are those held in New York City (/wiki/New_York_Fashion_Week) , London (/wiki/London_Fashion_Week) , Milan (/wiki/Milan_Fashion_Week) , and Paris (/wiki/Paris_Fashion_Week) . [1] (#cite_note-Bradford-1) [2] (#cite_note-Dillon-2) Berlin (/wiki/Berlin_Fashion_Week) fashion week is also of global importance. [1] (#cite_note-Bradford-1) [2] (#cite_note-Dillon-2) In a typical fashion show, models (/wiki/Fashion_model) walk the catwalk (/wiki/Catwalks) dressed in the clothing created by the designer. Clothing is illuminated on the catwalk using lighting and special effects. The order in which each model walks out, wearing a specific outfit, is usually planned in accordance with the statement that the designer wants to make about their collection. It is then up to the audience to try to understand what the designer is trying to "say", visually deconstruct each outfit and appreciate the detail and craftsmanship of every piece. Occasionally, fashion shows take the form of installations, where the models are static, standing or sitting in a constructed environment. A wide range of contemporary designers produce their shows as theatrical productions, with elaborate sets and added elements such as live music or a technological components such as holograms (/wiki/Hologram) or pre-recorded video backdrops. History [ edit ] 19th and 20th centuries [ edit ] Paris fashion and runway at the turn of the century The origins of fashion shows remain obscure as historians have yet to conduct a comprehensive study on the subject. [3] (#cite_note-slate-3) One of the designers of this concept, Charles Frederick Worth (/wiki/Charles_Frederick_Worth) , gained traction by displaying clothes on actual people instead of mannequins. By the end of the 19th century, "fashion parades" were regularly organized at Paris couture (/wiki/Haute_couture) salons. [4] (#cite_note-4) American (/wiki/United_States) retailers (/wiki/Retailer) imported the concept of the fashion show in the early 1900s. [3] (#cite_note-slate-3) The first American fashion show likely took place in 1903 in the New York City store of the Ehrlich Brothers. [3] (#cite_note-slate-3) By 1910, large department stores such as Wanamaker's (/wiki/Wanamaker%27s) in Manhattan (/wiki/Manhattan) and Philadelphia (/wiki/Philadelphia) were also staging fashion shows. [3] (#cite_note-slate-3) These events showed couture gowns from Paris or the store's copies of them; they aimed to demonstrate the owners' good taste and capture the attention of female shoppers. [3] (#cite_note-slate-3) As the popularity for these formal presentations expanded, it was in 1918 when fashion houses established fixed dates for runway shows to occur. These occurrences took place twice annually, specifically for fashion houses to plan for and promote their lines to foreign buyers. Runway shows were often held in department stores or hotels when they first began. European fashion houses would actively seek out buyers in the United States, specifically in larger cities, by hosting these runway shows. [5] (#cite_note-5) Because "the topic of fashion shows remains to find its historian", the earliest history of fashion shows remains obscure. In the 1800s, "fashion parades" periodically took place in Paris couture (/wiki/Haute_couture) salons. [ citation needed ] At the turn of the 19th century, exclusive fashion houses in Europe, especially Paris and London, were using formal presentations to showcase their latest line to clientele. [ citation needed ] By the 1920s, retailers across the United States held fashion shows. [3] (#cite_note-slate-3) Often, these shows were theatrical, presented with narratives, and organized around a theme (e.g. Parisian, Chinese, or Russian). [3] (#cite_note-slate-3) These shows enjoyed huge popularity through mid-century, sometimes attracting thousands of customers and gawkers. [3] (#cite_note-slate-3) Finnish actress Elina Salo (/wiki/Elina_Salo) presenting clothes designed by Vuokko Nurmesniemi (/wiki/Vuokko_Nurmesniemi) at a fashion show in the Helsinki Botanical Garden (/wiki/Helsinki_Botanical_Garden) in 1958 In the 1970s and 1980s, American designers began to hold their own fashion shows in private spaces separate from such retailers. [3] (#cite_note-slate-3) In the early 1990s, however, many in the fashion world began to rethink this strategy. [3] (#cite_note-slate-3) Fern Mallis (/wiki/Fern_Mallis) , who was the executive director of the Council of Fashion Designers of America (/wiki/Council_of_Fashion_Designers_of_America) at the time, remembered that following a series of accidents at shows held in small, hazardous venues, the prevailing attitude was, "We love fashion but we don't want to die for it." [3] (#cite_note-slate-3) In response to these shows, the New York shows were centralized in Bryant Park (/wiki/Bryant_Park) during Fashion Week (/wiki/New_York_Fashion_Week) in late 1993. [3] (#cite_note-slate-3) 21st century [ edit ] Example of an elaborate stage set used for the Chanel Haute Couture Fall-Winter 2011 show Some designers have attempted to modernize the style and presentation of fashion shows by integrating technological advances in experimental ways, such as including pre-recorded digital videos as backdrops (/wiki/Theater_drapes_and_stage_curtains) . [6] (#cite_note-6) During New York Fashion Week in 2014, designer Ralph Lauren (/wiki/Ralph_Lauren) [3] (#cite_note-slate-3) presented his new Polo line for Spring 2015 in a water-screen projection in Manhattan's Central Park (/wiki/Central_Park) . [7] (#cite_note-7) Technological progress has also allowed a broader portion of the fashion industry's followers to experience shows. In 2010, London Fashion Week was the first fashion week to allow viewing of its shows through live streaming (/wiki/Live_streaming) . [3] (#cite_note-slate-3) [8] (#cite_note-8) Live streaming of runway shows and mediated shows has now become commonplace. [9] (#cite_note-9) Tom Ford (/wiki/Tom_Ford) created a music video (/wiki/Music_video) with Lady Gaga (/wiki/Lady_Gaga) for his Spring/Summer 2016 women's collection. [10] (#cite_note-10) [11] (#cite_note-11) In the 21st century, fashion shows are usually also filmed and appear on specially assigned television channels or even in documentaries. [12] (#cite_note-12) Shows have also become increasingly elaborate for many of the top labels, including sprawling sets that often come with higher costs. [13] (#cite_note-fashion_shows-13) Fashion shows present the latest seasonal styles, functioning as both a walking art exhibition and a blueprint for fast fashion stores that replicate high fashion designs. While they can sometimes be perceived as shocking, this is often intentional, serving the crucial purpose of generating publicity. [14] (#cite_note-14) For many others, fashion shows also represent a way of life and establish the annual mood. Attendees of the performances also get to see an artistic medium firsthand and network with professionals in the field. Fashion presentations have evolved in the digital age, with the epidemic hastening this transition. Format and setting [ edit ] A runway may be as basic as a narrow space between rows of chairs or more elaborate setups with multiple catwalks. Most runway shows are held inside, for shelter against the weather, but there are times when runway shows are held outdoors. In the 2016 Paris Fashion Week (/wiki/Paris_Fashion_Week) , Chanel (/wiki/Chanel) presented an elaborate setup by designing the hall as if it were an airport. The viewing guests sat as if they were awaiting their flights while the models walked around the airport approaching ticket counters. [15] (#cite_note-15) Models [ edit ] Main article: Model (person) (/wiki/Model_(person)) Models on the runway at São Paulo Fashion Week (/wiki/S%C3%A3o_Paulo_Fashion_Week) , 2017 With the creation of runway shows, the concept of runway modeling was rapidly established with the establishment of agencies and professional modeling careers. Before professional agencies, fashion houses that runway shows often had their own in house models who would specifically be fitted and costumes for each show. By having in house models to present the clothes for runway, the fashion houses could ensure that the clothing was perfectly altered for presentation and bound to sell. However, as the demand for models grew, the modeling agency (/wiki/Modeling_agency) was established to represent runway models (/wiki/Model_(person)) . [16] (#cite_note-16) Catwalk [ edit ] "Catwalk" redirects here. For other uses, see Catwalk (disambiguation) (/wiki/Catwalk_(disambiguation)) . Haute couture (/wiki/Haute_couture) fashion models walking the catwalk (/wiki/Catwalk) at the Carolina Herrera (/wiki/Carolina_Herrera) show during New York Fashion Week (/wiki/New_York_Fashion_Week) in 2014. The term catwalk originates from the walkway, stage platform (/wiki/Stage_(theatre)) , or clearing used by models (/wiki/Model_(person)) to demonstrate clothing (/wiki/Clothing) and accessories (/wiki/Fashion_accessory) during a fashion show. [17] (#cite_note-17) Catwalks are used by designers to introduce new fashion lines and introduce new designers that grab the attention of consumers. In fashion jargon (/wiki/Jargon) , "what's on the catwalk" or similar phrasing can refer to whatever is new and popular in fashion. Some, especially in the United States, refer to the catwalk as a runway . [18] (#cite_note-18) Terminology [ edit ] Fashion sketching before live runway presentation Exclusive: When a model scores an exclusive for a fashion label, this means that they have been picked to walk for that particular designer only. This might launch their career, elevate their status in the fashion industry and 'guarantee' them spots on the world's best catwalks. [19] (#cite_note-19) Haute couture: A French phrase for high fashion. Runway shows were created to specifically display custom garments such as Haute couture (/wiki/Haute_couture) . [20] (#cite_note-Helmer-20) Look book: A collection of photos taken of models wearing a designer's or manufacturer's clothing, that is sent out to fashion editors, buyers, clients, and special customers to show the designer's looks for the season. [20] (#cite_note-Helmer-20) Sketches: Sketches, or illustrations, were the first way that designers would present clientele with their line. This is before mannequins and live runway models were established within the industry. [21] (#cite_note-21) See also [ edit ] Wikimedia Commons has media related to Fashion shows (https://commons.wikimedia.org/wiki/Category:Fashion_shows) . Fashion (/wiki/Fashion) Fashion design (/wiki/Fashion_design) Fashion trend (/wiki/Fashion_trend) Fashion week (/wiki/Fashion_week) Fetish fashion (/wiki/Fetish_fashion) Haute couture (/wiki/Haute_couture) List of fashion events (/wiki/List_of_fashion_events) References [ edit ] ^ Jump up to: a b Bradford, Julie (2014). Fashion Journalism . Routledge (/wiki/Routledge) . p. 129. ISBN (/wiki/ISBN_(identifier)) 9781136475368 . Archived (https://web.archive.org/web/20160101095821/https://books.google.com/books?id=H2xeBAAAQBAJ&pg=PA129) from the original on January 1, 2016 . Retrieved November 20, 2015 . ^ Jump up to: a b Dillon, Susan (2011). The Fundamentals of Fashion Management . A&C Black (/wiki/A%26C_Black) . p. 115. ISBN (/wiki/ISBN_(identifier)) 9782940411580 . Archived (https://web.archive.org/web/20160101095821/https://books.google.com/books?id=3XFMAQAAQBAJ&pg=PA115) from the original on January 1, 2016 . Retrieved November 20, 2015 . ^ Jump up to: a b c d e f g h i j k l m n Fortini, Amanda (February 8, 2006). "How the Runway Took Off" (https://slate.com/culture/2006/02/a-brief-history-of-the-fashion-show.html) . Slate . ISSN (/wiki/ISSN_(identifier)) 1091-2339 (https://www.worldcat.org/issn/1091-2339) . Retrieved June 26, 2024 . ^ (#cite_ref-4) Parmal, Pamela A.; Grumbach, Didier; Ward, Susan; Whitley, Lauren D., eds. (2006). Written at Boston, Massachusetts, United States. Fashion show: Paris style (1st ed.). Museum of Fine Arts: MFA Publications. ISBN (/wiki/ISBN_(identifier)) 978-0-87846-707-5 . OCLC (/wiki/OCLC_(identifier)) 76834334 (https://www.worldcat.org/oclc/76834334) . ^ (#cite_ref-5) "History of the Runway Show" (http://rnwy.com/history-runway-show) . RNWY® . April 5, 2017. Archived (https://web.archive.org/web/20200731115243/http://rnwy.com/history-runway-show) from the original on July 31, 2020 . Retrieved June 3, 2019 . ^ (#cite_ref-6) "New York Fashion Week Explores Technology's role in fashion" (http://fashionista.com/2014/09/technology-new-york-fashion-week-spring-2015) . Fashionista.com . September 12, 2014. Archived (https://web.archive.org/web/20160818182240/http://fashionista.com/2014/09/technology-new-york-fashion-week-spring-2015) from the original on August 18, 2016 . Retrieved January 16, 2017 . ^ (#cite_ref-7) "Press Releases – Press Releases - Ralph Lauren Investor Relations" (http://investor.ralphlauren.com/phoenix.zhtml?c=65933&p=irol-newsArticle&ID=1965009) . Investor.ralphlauren.com . September 8, 2014 . Retrieved January 16, 2017 . ^ (#cite_ref-8) Alex Wood. "London fashion week: why technology is in fashion" (https://www.theguardian.com/media-network/media-network-blog/2014/sep/12/london-fashion-week-technology-burberry) . The Guardian (/wiki/The_Guardian) . Archived (https://web.archive.org/web/20160921010219/https://www.theguardian.com/media-network/media-network-blog/2014/sep/12/london-fashion-week-technology-burberry) from the original on September 21, 2016 . Retrieved January 16, 2017 . ^ (#cite_ref-9) "Posts | Launchmetrics" (https://web.archive.org/web/20150608104617/http://www.fashiongps.com/5-technology-trends-transforming-the-fashion-industry/) . Fashiongps.com . March 25, 2014. Archived from the original (http://www.fashiongps.com/5-technology-trends-transforming-the-fashion-industry/) on June 8, 2015 . Retrieved January 16, 2017 . ^ (#cite_ref-10) "TOM FORD WOMENSWEAR SS16" (https://www.youtube.com/watch?v=JiSQHJ_a5Z0) . YouTube (/wiki/YouTube) . Archived (https://web.archive.org/web/20161223182515/https://www.youtube.com/watch?v=JiSQHJ_a5Z0) from the original on December 23, 2016 . Retrieved March 19, 2017 . ^ (#cite_ref-11) jezebel.com Tom Ford's Runway Show Was a Video Starring Lady Gaga (http://themuse.jezebel.com/tom-fords-runway-show-was-a-video-starring-lady-gaga-1734271936) Archived (https://web.archive.org/web/20170320143600/http://themuse.jezebel.com/tom-fords-runway-show-was-a-video-starring-lady-gaga-1734271936) March 20, 2017, at the Wayback Machine (/wiki/Wayback_Machine) , Julianne Escobedo Shepherd, 10/02/15 ^ (#cite_ref-12) Bible Black, a documentary on a fashion show held by Andrew Mackenzie (/wiki/Tao_N%C3%B8rager#Bible_Black) Urban.dk, November 13, 2008, artikel-id: e14a0053 (November 11, 2008). ^ (#cite_ref-fashion_shows_13-0) Murrow, Laura (March 6, 2012). "Transplanted Trees, Paper Kingdoms, and Flames: The Best Fashion Week Set Design" (http://nymag.com/thecut/2012/03/best-fashion-week-set-design.html) . The Cut . New York Media LLC. Archived (https://web.archive.org/web/20150702104250/http://nymag.com/thecut/2012/03/best-fashion-week-set-design.html) from the original on July 2, 2015 . Retrieved July 1, 2015 . ^ (#cite_ref-14) Hespokestyle. "What is the purpose of a fashion show?" (https://hespokestyle.com/mens-style-advice/fashion-show-purpose/) . Hepsokestyle. Archived (https://web.archive.org/web/20210420190815/https://hespokestyle.com/mens-style-advice/fashion-show-purpose/) from the original on April 20, 2021 . Retrieved April 7, 2021 . ^ (#cite_ref-15) "Paris Fashion Week 2015: Chanel Turns The Runway Into Airport, Jet-Setter's Dream! [PHOTOS]" (https://web.archive.org/web/20180629075128/https://www.latintimes.com/paris-fashion-week-2015-chanel-turns-runway-airport-jet-setters-dream-photos-345812) . Latin Times . October 7, 2015. Archived from the original (http://www.latintimes.com/paris-fashion-week-2015-chanel-turns-runway-airport-jet-setters-dream-photos-345812) on June 29, 2018 . Retrieved December 10, 2015 . ^ (#cite_ref-16) Evans, Caroline. "Fashion Models" (https://fashion-history.lovetoknow.com/fashion-clothing-industry/fashion-models) . LoveToKnow . Archived (https://web.archive.org/web/20200731035926/https://fashion-history.lovetoknow.com/fashion-clothing-industry/fashion-models) from the original on July 31, 2020 . Retrieved June 3, 2019 . ^ (#cite_ref-17) runway (http://www.merriam-webster.com/dictionary/runway) Archived (https://web.archive.org/web/20170715152421/https://www.merriam-webster.com/dictionary/runway) July 15, 2017, at the Wayback Machine (/wiki/Wayback_Machine) , 3.b, Merriam-Webster Dictionary ^ (#cite_ref-18) "catwalk – Dictionary Definition" (https://www.vocabulary.com/dictionary/catwalk) . Vocabulary.com . Archived (https://web.archive.org/web/20200731040304/https://www.vocabulary.com/dictionary/catwalk) from the original on July 31, 2020 . Retrieved June 3, 2019 . ^ (#cite_ref-19) Lim, James (February 20, 2009). "Lyndsey Scott: First Black Model to Score Calvin Exclusive" (http://nymag.com/daily/fashion/2009/02/lyndsey_scott_first_black_mode.html) . New York Magazine. Archived (https://web.archive.org/web/20120719074608/http://nymag.com/daily/fashion/2009/02/lyndsey_scott_first_black_mode.html) from the original on July 19, 2012 . Retrieved June 12, 2011 . ^ Jump up to: a b Helmer, Vanessa. "Here Is a Glossary of Must-Know Modeling Terms" (https://www.thebalancecareers.com/list-of-modeling-terms-and-phrases-for-models-2379479) . The Balance Careers . Archived (https://web.archive.org/web/20190603020129/https://www.thebalancecareers.com/list-of-modeling-terms-and-phrases-for-models-2379479) from the original on June 3, 2019 . Retrieved June 3, 2019 . ^ (#cite_ref-21) Victoria and Albert Museum, Digital Media webmaster@vam ac uk (August 13, 2013). "Fashion Drawing and Illustration in the 20th Century" (http://www.vam.ac.uk/content/articles/f/fashion-drawing-in-the-20th-century/) . www.vam.ac.uk . Archived (https://web.archive.org/web/20200731063048/http://www.vam.ac.uk/content/articles/f/fashion-drawing-in-the-20th-century/) from the original on July 31, 2020 . Retrieved June 3, 2019 . 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( April 2023 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Hanes Australasia Formerly Pacific Brands Company type Subsidiary Founded 1893 (1985 as "Pacific Brands"), listed on ASX and NSX in 2004 [1] (#cite_note-1) Headquarters Camberwell (/wiki/Camberwell,_Victoria) , Melbourne (/wiki/Melbourne) , Australia (/wiki/Australia) Key people Peter Bush (/wiki/Peter_Bush_(businessman)) (Chairman) David Bortolussi (CEO & Group General Manager – Underwear Group (/wiki/Bonds_(clothing)) ) David Muscat (CFO) Paul Gould (Group General Manager – Sheridan) Ian Shannon (Group General Manager – Tontine & Dunlop Flooring) Revenue A$ (/wiki/Australian_dollar) 789.7 million (2015) Operating income (/wiki/Earnings_before_interest_and_taxes) A$ (/wiki/Australian_dollar) 64.2 million (2015) Owner Hanesbrands (/wiki/Hanesbrands) [2] (#cite_note-Hanesbrands-2) Number of employees 3500 Subsidiaries (/wiki/Subsidiary) Key brands include Bonds (/wiki/Bonds_(clothing)) , Sheridan, Berlei (/wiki/Berlei) , Jockey, Explorer, Tontine (/wiki/Tontine_Group) and Dunlop Flooring Website hanesaustralasia (https://hanesaustralasia.com/) .com (https://hanesaustralasia.com/) Hanes Australasia , formerly Pacific Brands, is an Australian consumer products company. It is a business unit of the American company Hanesbrands (/wiki/Hanesbrands) . Structure and brands [ edit ] Sheridan concept area within Farmers (/wiki/Farmers_Trading_Company) department store (/wiki/Department_store) in New Zealand. The company is organised into three operating groups: Underwear: which supplies underwear, bras, socks, hosiery babywear, activewear and outerwear categories. Key brands include Bonds (/wiki/Bonds_(clothing)) (core brand), Berlei (/wiki/Berlei) , Jockey (/wiki/Jockey_International) , Explorer (/w/index.php?title=Explorer_(Australian_clothing_brand)&action=edit&redlink=1) , Rio (/w/index.php?title=Rio_(Australian_clothing_brand)&action=edit&redlink=1) , Bras N Things (/wiki/Bras_N_Things) and Holeproof (/wiki/Holeproof) Sheridan (/w/index.php?title=Sheridan_(brand)&action=edit&redlink=1) : which supplies premium bedding products and accessories, towels and other home lifestyle categories primarily under the Sheridan brand Tontine and Dunlop Flooring: which comprises a pillow and quilt business with brands Tontine, Dunlopillo, Fairydown, Crestell, Biozone, Dream-a-way and Natures Dreams, and a flooring products business supplying carpet underlay and hard flooring under the Dunlop Flooring and Heartridge brands History [ edit ] The company's origins go back to 1893, when the Dunlop Pneumatic Tyre Company (/wiki/Dunlop_Pneumatic_Tyre_Company) , then based in Dublin and Belfast, Ireland, opened a branch factory in Melbourne. [3] (#cite_note-3) The branch was sold in 1899 and became a separate company, Dunlop Pneumatic Tyre Company of Australasia Ltd, independent of the original Dunlop company. After several name changes, the Australian company became Pacific Dunlop. [4] (#cite_note-4) Pacific Brands logo Pacific Brands was formed as a division of the Australian company Pacific Dunlop (/wiki/Pacific_Dunlop) in 1985. In 2001, Pacific Dunlop sold the division to CVC Asia Pacific (/wiki/CVC_Asia_Pacific) and Catalyst Investment Managers, who in 2004 floated the company on the Australian Stock Exchange (/wiki/Australian_Stock_Exchange) . [5] (#cite_note-5) The company's stock forms part of the ASX 200 (/wiki/S%26P/ASX_200) index (/wiki/Stock_index) . On 28 June 2016, the company suspended trading on the ASX (/wiki/Australian_Securities_Exchange) in order to be acquired by Hanesbrands. [6] (#cite_note-6) [7] (#cite_note-7) Corporate changes/details were to be announced thereafter. This acquisition was completed and Pacific Brands was consumed by Hanesbrands. Timeline [ edit ] This section is in list (/wiki/MOS:LIST) format but may read better as prose (/wiki/MOS:PROSE) . You can help by converting this section (https://en.wikipedia.org/w/index.php?title=Hanes_Australasia&action=edit) , if appropriate. Editing help (/wiki/Help:Editing) is available. ( June 2024 ) 1893 – The Dunlop Pneumatic Tyre Company opened a brand and factory in Melbourne. [5] 1915 – Bonds founded by George Alan Bond. [6] 1920 – Bonds start producing the Men's Athletic Singlet, also referred to as the Chesty Bond (/wiki/Chesty_Bond) . [7] 1929 – Commences manufacturing of footwear with rubber boots. 1937 – Entered sporting goods market with the acquisition of Empire Racket Company. [8] 1939 – Dunlop Volley (/wiki/Dunlop_Volley) invented, inspired by tennis player and Dunlop employee Adrian Quist (/wiki/Adrian_Quist) 1960 – Produced Sleepmaker inner spring mattresses. Bonds sponsors the Nippers surf lifesaving program 1969 – Entered the underwear and socks market with the acquisition of Holeproof (/wiki/Holeproof) and Berlei Hestia Ltd 1971 – Created branded footwear business with the acquisition of Grosby (/w/index.php?title=Grosby&action=edit&redlink=1) . 1982 – Acquired Paul Winestock's business, which acted as the catalyst for the company's movement into footwear importing. [9] 1985 – Formed Pacific Brands as a consumer goods division of Pacific Dunlop (/wiki/Pacific_Dunlop) . [10] 1987 – Strengthened its position in the underwear and hosiery market with the acquisition of Bonds (/wiki/Bonds_(clothing)) . [11] 1994 – First Sheridan Boutique stores opened in Double Bay and St Ives. 1995 – Entered the outerwear market with the purchase of Boydex International Pty Ltd. 1997 – Established wholly owned bra manufacturing factory in Indonesia, through the formation of PT Berlei Indonesia. 2000 – Developed branded footwear business with the acquisition of the Australian licences for Clarks and Hush Puppies (/wiki/Hush_Puppies) . [12] 2000 – Was one of the largest suppliers to the 2000 Sydney Olympic Games. 2001 – Acquired Sara Lee Apparel Australia Business (including King Gee (/wiki/King_Gee) , Playtex, Razzamatazz and Stubbies). [13] 2002 – Pacific Brands was spun off from Pacific Dunlop and sold to CVC Asia Pacific and Catalyst Investment Managers. [14] 2002 – PT Berlei becomes WRAP (Worldwide Responsible Accredited Production) certified. [15] 2003 – Acquired Kolotex hosiery [16] and Sachi women's footwear. [17] 2004 – Listed on the Australian Stock Exchange and New Zealand Stock Exchange. [18] 2005 – Obtained Merrell Footwear (/wiki/Merrell_(company)) distribution licence. [19] 2005 – Acquired Sheridan business including Actil and Arthur Ellis (Homewares New Zealand and Everwarm Survival businesses). [20] Sheridan Factory Outlet in Wellington, New Zealand (/wiki/Wellington,_New_Zealand) 2006 – Acquired Peri and Foam Products Australia (FPA). [21] 2007 – Acquired the streetwear division of Globe International (/wiki/Globe_International) (brands include Mooks (/wiki/Mooks_clothing_company) , Mossimo (/wiki/Mossimo) , Paul Frank (/wiki/Paul_Frank_Industries) , Superdry (/wiki/Superdry) and Stüssy (/wiki/St%C3%BCssy) ). 2007 – Became a market leader in the workwear category by acquiring the Yakka group of companies (including the Yakka, Hard Yakka (/wiki/Hard_Yakka) , Can't Tear 'Em, Stylecorp, NNT Uniforms, Wrangler (/wiki/Wrangler_(jeans)) and Lee Jeans (/wiki/Lee_Jeans) brands) from the Laidlaw family. [23] 2008 – Berlei launched the Barely There bra. 2008 – Signed up to the Ethical Trading Initiative (ETI). Pacific Brands is the founding Australian company to join the ETI – a tripartite organisation involving companies, unions and NGOs. The Code is widely acknowledged as a model code of labour practice, and is derived from the Conventions of the International Labour Organisation (ILO). [24] 2009 – The Ethical Trading Initiative rated the company as Beginner. 2009 – In dealing with the GFC, the company unveiled its new strategy which would see it exit the majority of its local manufacturing and focus on competitive sourcing alternatives offshore. Announced it will lay off 1,850 staff and close most manufacturing sites in Australia, saying they are no longer economically viable. [25] As part of this transformation, the company undertook capital raising and debt refinancing, raising $165m and refinancing its debt across a range of banks. [26] 2009 – Donated in excess of AU $500,000 worth of products to the Salvation Army (/wiki/The_Salvation_Army) and in excess of AU $50,000 cash to The Red Cross to assist in dealing with the bushfire crises in Australia at that time. Its staff also volunteered time to assist in the response effort. 2010 – The Ethical Trading Initiative increased the company's rating from Beginner to Improver. 2010 – Sold its Chinese Grosby shoe factory, signaling a complete exit from footwear manufacturing. As part of the same deal, it sold its UK footwear business. 2010 – Tontine introduced a date-stamped pillow, and suggested that Australians should change their pillows every two years. Research conducted by the brand found that a pillow could grow a complex ecosystem made up of dead skin cells and the things that feed on them. The research also showed there was an average of 9 pillows in every Australian home, with the average age of the oldest pillow being 5.7 years. [27] 2011 – Sold its Sleepmaker and Dunlop Foams business to New Zealand company Sleepyhead and sold its Leisure and Fitness business (including Malvern Star Bicycles (/wiki/Malvern_Star) ) to New Zealand's Sheppard Cycles. [8] (#cite_note-8) [ failed verification ] 2011 – Acquired the Brands United business from Gazal, which comprised 13 underwear and hosiery retail outlets. [29] July 2011 – Launched www.sheridan.com.au. November 2011 – Launched www.bonds.com.au. [30] 2011 – The Ethical Trading Initiative increased the company's rating from Improver to Achiever. 2012 – Volley was the official "dress" shoe of the Australian Olympic Team, who wore a specially designed shoe as part of their uniform during the Opening and Closing ceremonies at the London Olympics. A limited number of the shoes were offered for sale to the public through Big W outlets. [31] May 2012 – BONDS opened its first retail store in Westfield Doncaster, Victoria. [32] 2013 – Acquired UK corporate clothing company, Incorporatewear Ltd. [33] December 2013 – Became a signatory to the Bangladesh Accord. [34] 2014 – Sold its Workwear portfolio to Wesfarmers (/wiki/Wesfarmers) for $180 million. The sale included the brands Stubbies (/wiki/Stubbies_(brand)) , King Gee (/wiki/King_Gee) and Hard Yakka (/wiki/Hard_Yakka) . [35] 2014 – Sold its footwear and sport portfolio (known as "Brand Collective") in three transactions. The sale incorporated Clarks, Hush Puppies (/wiki/Hush_Puppies) , Julius Marlow (/w/index.php?title=Julius_Marlow&action=edit&redlink=1) , Volley (/wiki/Volley_(shoe)) , Mossimo (/wiki/Mossimo) , Superdry (/wiki/Superdry) , Dunlop (/wiki/Dunlop_Sport_(Australia)) , Slazenger (/wiki/Slazenger) , Everlast (/wiki/Everlast_(brand)) , Grosby (/w/index.php?title=Grosby&action=edit&redlink=1) , Harrison and Freshjive. 2015 – Signed three new brand ambassadors: Iggy Azalea (/wiki/Iggy_Azalea) for Bonds (/wiki/Bonds_(clothing)) , Jessica Marais (/wiki/Jessica_Marais) for Berlei Sensation and a global extension with Serena Williams (/wiki/Serena_Williams) for Berlei Sport. 2015 – Celebrated Bonds' 100th anniversary. 2015 – Acquired Crestell pillow and bedding accessories business, encompassing the Crestell, Biozone, Dream-a-way and Natures Dreams brands. 2016 – Acquired by Hanesbrands (/wiki/Hanesbrands) for $800 million. [2] (#cite_note-Hanesbrands-2) Ethical trading [ edit ] As a founding Australian member in 2008 of the Ethical Trading Initiative (ETI), which is an independent and internationally recognised code of labour practice, founded on the conventions of the International Labour Organisation, annually discloses its ethical sourcing program to the ETI, including continuous improvement initiatives. [9] (#cite_note-9) ETI members must adopt their principles of implementation, which set out the approach to ethical trade, including the requirements for companies to demonstrate a clear commitment to integrate ethical trade into their core business practices; to drive ongoing improvements to worker welfare and working conditions, for example through advice and training; and report openly and accurately about their activities. [10] (#cite_note-10) Since joining the ETI in 2008, Pacific Brands has demonstrated leadership and yearly improvements which has seen its membership status upgraded from Beginner in 2008, to Improver in 2010 and to Achiever in 2011. Pacific Brands is also a signatory to the Bangladesh Accord and is committed to driving safe working conditions in the country, notwithstanding that the Company does not currently source from Bangladesh. Controversies [ edit ] Local manufacturing [ edit ] Pacific Brands have been criticised by union groups (/wiki/Australian_labour_movement) for their decision to move manufacturing overseas. In 2009, the board of Pacific Brands announced the redundancy of 1,850 employees, [11] (#cite_note-11) as part of a plan to move manufacturing operations to China. Union groups protested against the decision. Human rights [ edit ] The Ethical Trading Initiative (/wiki/Ethical_Trading_Initiative) 's base code includes a living wage provision, for companies to pay enough for workers to meet basic needs and to provide some discretionary income. [12] (#cite_note-12) [ relevant? ] Oxfam Australia (/wiki/Oxfam_Australia) has urged Pacific Brands to adopt transparent and independent auditing practices of its workers' conditions in its supply chain, as an initial step towards ensuring respect for the rights of workers. [13] (#cite_note-13) Executive remuneration [ edit ] During Morphet's leadership of Pacific Brands, sales had fallen by 15 per cent and net profit by 40 per cent. EPS (/wiki/Earnings_per_share) decreased from 11.5 cents/share to 3.0 cents/share. [14] (#cite_note-14) In October 2011, Pacific Brands shareholders voiced their disapproval for its remuneration report. There was a backlash from investors due to Pacific Brands bonuses. [15] (#cite_note-15) Although shareholders have had the right to vote on remuneration reports since 2005, the results of the shareholder vote were not binding on the board. Under the new rule, a company will be obliged to hold a spill vote of its board if its remuneration report is not supported by 75% or more shareholders for two years in a row. [16] (#cite_note-16) In the following year, shareholders supported the remuneration report, avoiding a second strike. See also [ edit ] Australia portal (/wiki/Portal:Australia) Clothing portal (/wiki/Portal:Clothing) Fashion portal (/wiki/Portal:Fashion) List of sock manufacturers (/wiki/List_of_sock_manufacturers) References [ edit ] ^ (#cite_ref-1) "PACIFIC BRANDS LIMITED (PBG)" (http://www.asx.com.au/asx/research/companyInfo.do?by=asxCode&asxCode=PBG) . ASX . Retrieved 28 July 2014 . ^ Jump up to: a b Hall, Matt (15 July 2016). "HanesBrands Completes Acquisition of Pacific Brands Limited" (http://www.businesswire.com/news/home/20160715005150/en/HanesBrands-Completes-Acquisition-Pacific-Brands-Limited) . Berkshire Hathaway. Business Wire . Retrieved 26 December 2016 . ^ (#cite_ref-3) MCCARTHY, GAVAN. "Dunlop Pneumatic Tyre Company, Australian branch (1893–1899)" (http://www.austehc.unimelb.edu.au/asaw/biogs/A000529b.htm) . Encyclopedia of Australian Science . Retrieved 28 July 2014 . ^ (#cite_ref-4) "Pacific Brands History" (http://www.pacificbrands.com.au/about-us/Our-History.asp) . Pacific Brands . Retrieved 28 July 2014 . ^ (#cite_ref-5) "Pacific Brands float debuts at a premium" (http://www.smh.com.au/articles/2004/04/02/1080544673930.html) . The Sydney Morning Herald. 2 April 2004 . Retrieved 28 July 2014 . ^ (#cite_ref-6) Mitchell, Sue (28 April 2016). "Hanesbrands makes $1.1bn offer for socks and jocks maker Pacific Brands" (http://www.smh.com.au/business/hanesbrands-makes-1b-offer-for-socks-and--jocks-maker-pacific-brands-20160427-gogr2f.html) . The Sydney Morning Herald . Retrieved 15 December 2016 . ^ (#cite_ref-7) Ritson, Mark (27 June 2016). "End of an era as Americans take over Bonds and Pacific Brands" (http://www.theaustralian.com.au/business/media/opinion/end-of-an-era-as-americans-take-over-bonds-and-pacific-brands/news-story/38ab8164c7ef59ceb4c10a32eca33130) . THE AUSTRALIAN . Retrieved 15 December 2016 . ^ (#cite_ref-8) "Sheppard Cycles" (https://www.sheppardcycles.com/) . www.sheppardcycles.com . ^ (#cite_ref-9) "Key ETI resources" (http://www.ethicaltrade.org/resources/key-eti-resources/principles-implementation%20Principles%20of%20Implementation) . Ethical Trading . Retrieved 28 July 2014 . ^ (#cite_ref-10) "About ETI" (http://www.ethicaltrade.org/about-eti) . Ethical Trading . Retrieved 28 July 2014 . ^ (#cite_ref-11) "Pac Brands suffers loss, set to axe 1850 jobs" (http://www.smh.com.au/business/pac-brands-suffers-loss-set-to-axe-1850-jobs-20090225-8h6x.html) . The Sydney Morning Herald. 25 February 2009 . Retrieved 28 July 2014 . ^ (#cite_ref-12) "ETI Base Code" (http://www.ethicaltrade.org/eti-base-code) . International Labour Organisation . Retrieved 28 July 2014 . ^ (#cite_ref-13) "Talking with Pacific Brands" (http://www.oxfam.org.au/explore/workers-rights/pacific-brands/talking-with-pacific-brands) . Oxfam. 8 August 2011 . Retrieved 28 July 2014 . ^ (#cite_ref-14) Durie, John (24 February 2010). "Sue Morphet's claims for Pacific Brands hard to justify" (http://www.theaustralian.com.au/business/opinion/sue-morhpets-claims-hard-to-justify-john-durie/story-e6frg9io-1225833847616) . THE AUSTRALIAN . Retrieved 28 July 2014 . ^ (#cite_ref-15) Danckert, Sarah (26 October 2011). "Investor backlash over Pacific Brands bonuses" (http://www.theaustralian.com.au/business/companies/investor-backlash-over-pacific-brands-bonuses/story-fn91v9q3-1226176656905) . THE AUSTRALIAN . Retrieved 28 July 2014 . ^ (#cite_ref-16) FRITH, BRYAN (26 October 2011). "GUD, Pacific Brands run foul of rule but this time Transurban nails it" (http://www.theaustralian.com.au/business/opinion/gud-pacific-brands-run-foul-of-rule-but-this-time-transurban-nails-it/story-e6frg9kx-1226176655267) . THE AUSTRALIAN . Retrieved 28 July 2014 . External links [ edit ] Official website (http://www.pacificbrands.com.au/) NewPP limit report Parsed by mw‐web.codfw.main‐5f776947c‐t6xd5 Cached time: 20240709034845 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.463 seconds Real time usage: 0.662 seconds Preprocessor visited node count: 2959/1000000 Post‐expand include size: 97706/2097152 bytes Template argument size: 17912/2097152 bytes Highest expansion depth: 19/100 Expensive parser function count: 15/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 71344/5000000 bytes Lua time usage: 0.276/10.000 seconds Lua memory usage: 7288150/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 545.076 1 -total 30.15% 164.359 1 Template:Reflist 26.89% 146.584 6 Template:Ambox 23.26% 126.761 1 Template:Infobox_company 21.39% 116.614 1 Template:Infobox 19.48% 106.193 8 Template:Cite_web 17.95% 97.822 1 Template:Multiple_issues 13.29% 72.463 1 Template:Short_description 7.98% 43.491 1 Template:Original_research 7.40% 40.316 2 Template:Pagetype Saved in parser cache with key enwiki:pcache:idhash:8354301-0!canonical and timestamp 20240709034845 and revision id 1232920556. 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Peranakan traditional beadwork An early 20th century Munka Kasot of a Peranakan Kasut Manik , a beaded upper for a pair of slippers. Peranakan beaded slippers , also known as Kasut Manik , [1] (#cite_note-1) literally meaning "beaded shoes", is a type of shoe (/wiki/Shoe) that dates back to the early twentieth century Malaya. It refers to beaded slippers (/wiki/Slippers) worn by a nyonya (/wiki/Nyonya) to complete her Sarong (/wiki/Sarong) Kebaya (/wiki/Kebaya) outfit, together with chained brooches (/wiki/Brooch) (kerosang) and a silver belt (tali pending). The slippers are made of Peranakan cut beads (/wiki/Peranakan_cut_beads) (Manik Potong), which are treasured as these beads are no longer available. Vintage Kasut Maniks are intricate and finely stitched, a testimony to the fine workmanship of yesteryears. The intricacy and fine workmanship of a pair of the beaded slipper is also a hallmark of highly accomplished Peranakan (/wiki/Peranakan) women, also known as Nyonya, whose skills in embroidery (/wiki/Embroidery) and beadwork (/wiki/Beadwork) are highly valued. [2] (#cite_note-2) Description [ edit ] The beaded slippers were worn by both the Peranakan males ( baba (/wiki/Peranakan) ) [3] (#cite_note-3) and females ( nyonya (/wiki/Nyonya) ) and were popular in the 1930s. Nowadays, the beaded slippers are more commonly worn by women only. The beaded slippers were made for two types of occasions. For happy occasions, like the Chinese New Year (/wiki/Chinese_New_Year) or birthdays, these beaded slippers used colorful beads with intricate patterns. For sad occasions, the beads used were likely to be in black, white or blue colors (Chinese mourning colors), and the patterns were simple. The beaded slippers were either opened face ( peep-toe (/wiki/Peep-toe_shoe) ) or covered face. The popular motifs used for the patterns were flowers, birds, butterflies, and fruits. These motifs, likely to appeal to the femininity of the Peranakan women, had both European (/wiki/Europe) and Chinese (/wiki/China) influence. The sample patterns were likely to be cross-stitched (/wiki/Cross_stitch) , with each stitch representing a bead. The beads were then used in the actual beading of the slippers. The Peranakan pattern for the beaded slipper is unique in that even the background is quite ornate resulting in a colorful patterned mosaic with a well-defined border. To sew the pattern, a laced-up wooden frame (pidangan) [4] (#cite_note-4) is used to provide the right tension for the beading. The beading process starts from the center of the pattern, moving to the right then left. The main motif of the pattern is first beaded, followed by the background and then the border. The border may have a smooth or scallop-edge. When the beaded pattern is completed, it would be sent to the cobbler to be made into slippers. Leather is usually the preferred material for the beaded slippers, and may be either made with low or high heels. See also [ edit ] Clothing portal (/wiki/Portal:Clothing) Fashion portal (/wiki/Portal:Fashion) Malaysia portal (/wiki/Portal:Malaysia) Malaysian cultural outfits (/wiki/Malaysian_cultural_outfits) Culture of Malaysia (/wiki/Culture_of_Malaysia) References [ edit ] ^ (#cite_ref-1) Ho Wing Meng, "Straits Chinese Beadwork & Embroidery: A Collector's Guide", Times Books International. 1987. ISBN (/wiki/ISBN_(identifier)) 9971-65-194-7 (/wiki/Special:BookSources/9971-65-194-7) . Pages 38-46, 63-64. ^ (#cite_ref-2) Khoo Joo Ee, "The Straits Chinese: A Cultural History", Pepin Press BV, 1996, ISBN (/wiki/ISBN_(identifier)) 90-5496-008-6 (/wiki/Special:BookSources/90-5496-008-6) . Pages 190-206. ^ (#cite_ref-3) Felix Chia, "The Babas", Times Books International, 1980. ISBN (/wiki/ISBN_(identifier)) 9971-65-058-4 (/wiki/Special:BookSources/9971-65-058-4) . ^ (#cite_ref-4) Eng-Lee Seok Chee, Festive Expressions: Nonya Beadwork and Embroidery , National Museum Singapore. 1989. ISBN (/wiki/ISBN_(identifier)) 9971-917-30-0 (/wiki/Special:BookSources/9971-917-30-0) . Pages 25-29, 68. v t e Beadwork (/wiki/Beadwork) Beads (/wiki/Bead) Aggry beads (/wiki/Aggry_beads) Chevron beads (/wiki/Chevron_bead) Glass bead making (/wiki/Glass_bead_making) Faturan (/wiki/Faturan) Hair pipe (/wiki/Hair_pipe) Heishe (/wiki/Heishe) Kiffa beads (/wiki/Kiffa_beads) Love beads (/wiki/Love_beads) Millefiori (/wiki/Millefiori) Murano beads (/wiki/Murano_beads) Peranakan cut beads (/wiki/Peranakan_cut_beads) Powder glass beads (/wiki/Powder_glass_beads) Seed beads (/wiki/Seed_bead) Sequins (/wiki/Sequin) Trade beads (/wiki/Trade_bead) Wampum (/wiki/Wampum) Techniques and tools Bead crochet (/wiki/Bead_crochet) Bead embroidery (/wiki/Bead_embroidery) Bead stringing (/wiki/Bead_stringing) Bead weaving (/wiki/Bead_weaving) Brick stitch (/wiki/Brick_stitch) Peyote stitch (/wiki/Peyote_stitch) Right-angle weave (/wiki/Right-angle_weave) Square stitch (/wiki/Square_stitch) Bead artists Richard Aitson (/wiki/Richard_Aitson) Marcus Amerman (/wiki/Marcus_Amerman) Martha Berry (/wiki/Martha_Berry_(artist)) Chipeta (/wiki/Chipeta) Joyce Growing Thunder Fogarty (/wiki/Joyce_Growing_Thunder_Fogarty) Juanita Growing Thunder Fogarty (/wiki/Juanita_Growing_Thunder_Fogarty) Teri Greeves (/wiki/Teri_Greeves) Maude Kegg (/wiki/Maude_Kegg) Related Dentalium shell (/wiki/Dentalium_shell) Quillwork (/wiki/Quillwork) Peranakan beaded slippers Tiger tail wire (/wiki/Tiger_tail_wire) Bead Game (/wiki/Bead_Game) v t e Folk costumes (/wiki/Folk_costume) Africa (/wiki/Clothing_in_Africa) Balgha (/wiki/Balgha) Boubou (/wiki/Agbada) Dashiki (/wiki/Dashiki) Djellaba (/wiki/Djellaba) Head tie (/wiki/Head_tie) Jellabiya (/wiki/Jellabiya) Kanzu (/wiki/Kanzu) Kente cloth (/wiki/Kente_cloth) Kufi (/wiki/Kufi) Litham (/wiki/Litham) Pareo (/wiki/Pareo) Senegalese kaftan (/wiki/Senegalese_kaftan) Tagelmust (/wiki/Tagelmust) Wrapper (/wiki/Wrapper_(clothing)) Asia Central Afghanistan (/wiki/Pashtun_clothing) Pakol (/wiki/Pakol) Chapan (/wiki/Chapan) Deel (/wiki/Deel_(clothing)) Malahai 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(/wiki/Khmer_clothing) Chong Kben (/wiki/Sompot_Chong_Kben) Krama (/wiki/Krama) Sompot (/wiki/Sompot) Sbai (/wiki/Sbai) Indonesia (/wiki/National_costume_of_Indonesia) Baju bodo (/wiki/Bodo_blouse) Batik (/wiki/Batik) Blangkon (/wiki/Blangkon) Ikat (/wiki/Ikat) Kebaya (/wiki/Kebaya) Kemben (/wiki/Kemben) Kupiah (/wiki/Kupiah) Songket (/wiki/Songket) Songkok (/wiki/Songkok) Tanjak (/wiki/Tengkolok) Ulos (/wiki/Ulos) Laos (/wiki/Culture_of_Laos#Traditional_clothing) Xout lao (/wiki/Xout_lao) Suea pat (/wiki/Suea_pat) Sinh (/wiki/Sinh_(clothing)) Malaysia (/wiki/Malaysian_cultural_outfits) Baju Kurung (/wiki/Baju_Kurung) Baju Melayu (/wiki/Baju_Melayu) Songket (/wiki/Songket) Songkok (/wiki/Songkok) Tengkolok (/wiki/Tengkolok) Philippines (/wiki/Fashion_and_clothing_in_the_Philippines) Barong tagalog (/wiki/Barong_tagalog) Baro't saya (/wiki/Baro%27t_saya) Buntal hat (/wiki/Buntal_hat) Malong (/wiki/Malong) Maria Clara gown (/wiki/Maria_Clara_gown) Patadyong (/wiki/Patadyong) Salakot 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American photojournalist (born 1958) This article is in list (/wiki/MOS:LIST) format but may read better as prose (/wiki/MOS:PROSE) . You can help by converting this article (https://en.wikipedia.org/w/index.php?title=Christopher_Morris_(photographer)&action=edit) , if appropriate. Editing help (/wiki/Help:Editing) is available. ( June 2016 ) Christopher Morris Born 1958 California (/wiki/California) Nationality American (/wiki/United_States) Education 1980: AiFL (/wiki/The_Art_Institute_of_Fort_Lauderdale) photography B.Sc. (/wiki/Bachelor_of_Science) Occupation(s) Photographer (/wiki/Photographer) , film director (/wiki/Film_director) Years active 1981–present Organization VII Photo Agency [1] (#cite_note-bjp2014-1) Known for Photojournalism (/wiki/Photojournalism) , war (/wiki/War_photography) , political, portrait (/wiki/Portrait_photography) , fashion (/wiki/Fashion_photography) , art (/wiki/Fine-art_photography) , film (/wiki/Film) Notable work 1989: Casualties of Just Cause [2] (#cite_note-TimePanama1989-2) 1991: Yugoslav Wars [3] (#cite_note-DigitalJournalist2001Pic-3) 1992: Slaughter in Vukovar 2006: My America Awards 1991: Olivier Rebbot award 1991: Robert Capa Gold Medal 2005: World Press Photo [4] (#cite_note-WPP2005-4) Website christophermorrisphotography (http://ChristopherMorrisPhotography.com) .com (http://ChristopherMorrisPhotography.com) Christopher Morris (born 1958) is an American photojournalist best known for his documentary conflict photographs, being a White House (/wiki/White_House) photographer, a fashion photographer, and a film director. Life and work [ edit ] Morris was born in 1958 in California (/wiki/California) . In 1980, he earned a photography bachelor of science degree from the Art Institute of Fort Lauderdale (/wiki/The_Art_Institute_of_Fort_Lauderdale) . [5] (#cite_note-L’Artiste2011-5) He was appointed runner by Black Star (/wiki/Black_Star_(photo_agency)) director Howard Chapnick (/wiki/Howard_Chapnick) . [6] (#cite_note-DigitalJournalist2001Editorial-6) In 1981, during six months, he documented the underground world of the New York City Subway (/wiki/New_York_City_Subway) in a photo essay published 33 years later in Time (/wiki/Time_(magazine)) . [7] (#cite_note-7) War photographer [ edit ] In 1983, during the civil conflict in the Philippines (/wiki/Communist_rebellion_in_the_Philippines) in Manila (/wiki/Manila) , [8] (#cite_note-Emaho2012-8) Morris started covering world news as documentary conflict [n 1] (#cite_note-9) photographer for Newsweek (/wiki/Newsweek) . [6] (#cite_note-DigitalJournalist2001Editorial-6) In 1989 - 1990, he documented the United States invasion of Panama (/wiki/United_States_invasion_of_Panama) . [2] (#cite_note-TimePanama1989-2) CBS News and RAI broadcast his short movie. [6] (#cite_note-DigitalJournalist2001Editorial-6) He won one of his first prizes World Press Photo (/wiki/World_Press_Photo) awards for "Casualties of Just Cause (/wiki/United_States_invasion_of_Panama#Origin_of_the_name_"Operation_Just_Cause") , Panama." [9] (#cite_note-apnews1990-10) On March 4, 1991, near the front of the Persian Gulf War (/wiki/Gulf_War) , his photograph of a U.S. Marine holding the American flag above his shoulders made the front cover of Life (/wiki/Life_(magazine)) . [10] (#cite_note-11) During nine years, he covered the war in the former Yugoslavia (/wiki/Yugoslav_Wars) . [6] (#cite_note-DigitalJournalist2001Editorial-6) In Perpignan (/wiki/Perpignan) , his photo essay won the Visa d'Or award (/wiki/Visa_pour_l%27image#France_:_Awards) . [11] (#cite_note-Visa1992-12) However Grazia Neri wrote: "It was in Yugoslavia that the daily exposure to the war on civilians started to weigh heavily on him, on his person, on his soul, and on his photography." [6] (#cite_note-DigitalJournalist2001Editorial-6) "To me, that shot [3] (#cite_note-DigitalJournalist2001Pic-3) symbolizes the whole Yugoslav conflict of how emotional and how ridiculous the war was. You can really feel the boy's pain and the family's pain that's holding him." — Christopher Morris, Photo District News (/wiki/Photo_District_News) [12] (#cite_note-13) In May 1992, he has been named the recipient of the 1991 Robert Capa Gold Medal (/wiki/Robert_Capa_Gold_Medal) for his coverage of " Slaughter in Vukovar (/wiki/Vukovar_massacre) ". [13] (#cite_note-nytimes1992-14) About the famine (/wiki/Operation_Provide_Relief#Humanitarian_operation) in Mogadishu (/wiki/Mogadishu) during the war in Somalia (/wiki/Unified_Task_Force) , he said that he did not wish to live again such an experience. [8] (#cite_note-Emaho2012-8) In 1995, he captured movement in a photograph of a Chechen fighter running outside of the demolished presidential palace during the battle of Grozny (/wiki/Battle_of_Grozny_(1994%E2%80%9395)) of the first Chechen War (/wiki/First_Chechen_War) : "At that moment that's the most dangerous place on earth. I'm not sitting there saying, 'Oh, I'm going to shoot slow shutter speeds and I'm going to zoom it!'" Morris said. "You're just shooting." [14] (#cite_note-15) 1998 was the year of the Kosovo (/wiki/Kosovo_War) assignment. [6] (#cite_note-DigitalJournalist2001Editorial-6) In 2000, the second Chechen War (/wiki/Second_Chechen_War) was the turning point of his career of "war shooter" : [8] (#cite_note-Emaho2012-8) "With the vision in my mind of my 2 year old daughter at home whom I rarely had seen nor even photographed. This was the crystal clear moment that made me disengage from this type of photography as a profession." — Christopher Morris, Emaho magazine [8] (#cite_note-Emaho2012-8) In September 2001, Morris was one of seven founding members of VII Photo Agency (/wiki/VII_Photo_Agency) . [1] (#cite_note-bjp2014-1) In 2001, he provided coverage of the terrorism in Yemen (/wiki/Terrorism_in_Yemen) [6] (#cite_note-DigitalJournalist2001Editorial-6) and the 2003 invasion of Iraq (/wiki/2003_invasion_of_Iraq) . [15] (#cite_note-16) In 2011, he documented the Libyan Civil War (/wiki/Libyan_Civil_War_(2011)) [16] (#cite_note-17) and, in 2012, the Plan Colombia (/wiki/Plan_Colombia) . [17] (#cite_note-18) Morris, who was commissioned by Black Star in 1988 to document the Soviet–Afghan War (/wiki/Soviet%E2%80%93Afghan_War) , [6] (#cite_note-DigitalJournalist2001Editorial-6) photographed 24 years later for Time/VII the parents of the POW (/wiki/Prisoner_of_war) Bowe Bergdahl (/wiki/Bowe_Bergdahl) , captured in 2009 during the War in Afghanistan (/wiki/War_in_Afghanistan_(2001%E2%80%93present)) . [18] (#cite_note-19) Political photographer [ edit ] In 2000, in United States, as member of the White House (/wiki/White_House) pool (/wiki/Press_pool) , he covered the presidencies of George W. Bush (/wiki/George_W._Bush) [19] (#cite_note-20) and Barack Obama (/wiki/Barack_Obama) for Time . [20] (#cite_note-BirdInFlight-21) In 2013, in France, he documented the presidency of François Hollande (/wiki/Fran%C3%A7ois_Hollande) for Le Monde (/wiki/Le_Monde) . [21] (#cite_note-22) For Elle (/wiki/Elle_(magazine)) , he provided coverage of the political campaign race to conquer the Paris city hall (/wiki/H%C3%B4tel_de_Ville,_Paris) for the first time between two women: Nathalie Kosciusko-Morizet (/wiki/Nathalie_Kosciusko-Morizet) and Anne Hidalgo (/wiki/Anne_Hidalgo) who both campaigned to become Mayor of Paris (/wiki/Mayor_of_Paris) . [22] (#cite_note-23) On February 29, 2016, Morris was involved in an altercation with a United States Secret Service agent while photographing a Black Lives Matter (/wiki/Black_Lives_Matter) protest at a campaign rally at Radford University (/wiki/Radford_University) in Virginia. [23] (#cite_note-24) Morris cursed at the Secret Service agent moments prior to the physical confrontation. The agent grabbing the photographer's neck with both hands and threw him into a table and onto the ground. [24] (#cite_note-Time2016_02_29-25) While lying on the ground, Morris kicked at the agent. [24] (#cite_note-Time2016_02_29-25) Morris grabbed at the agent's neck which Morris stated was to demonstrate the choke hold he had just experienced. The Secret Service launched an investigation into the incident, a spokesman said, and would "provide further details as warranted once additional facts surrounding the situation are known." [25] (#cite_note-CNN_altercation_article-26) Books [ edit ] In 2006, Morris published his photographic monograph, My America , a personal journey through portraits and landscapes into a Republican (/wiki/Republican_Party_(United_States)) America. This book of photographies was produced while on assignment for Time covering U.S. president George W. Bush and those close to him. [n 2] (#cite_note-28) [27] (#cite_note-29) In 2012, Morris continued his series about the American society with his second book Americans . [26] (#cite_note-latimes2013-27) [28] (#cite_note-30) Movie director [ edit ] In 2007, for The New York Times (/wiki/The_New_York_Times) , Morris directed the short film The Gentle Shepherd about the pastor Terry Fox [29] (#cite_note-31) at the Wild West World theme park in Wichita (/wiki/Wichita,_Kansas) . [30] (#cite_note-32) For Time LightBox , in 2013, Morris directed, edited and produced the short film Conclave about people waiting, in St. Peter's Square (/wiki/St._Peter%27s_Square) , for the announcement of the new Pope (/wiki/List_of_popes#21st_century) . [31] (#cite_note-33) In 2016, he introduced a new way to film the United States presidential candidates’ rallies using a high-speed camera, his short movies being played back in slow-motion. [32] (#cite_note-time2016_02_08-34) Fashion photographer [ edit ] In 2008, his book My America is noticed by the editor in chief of the Italian fashion magazine Amica (/wiki/Amica_(magazine)) who hired him for a Ralph Lauren (/wiki/Ralph_Lauren_Corporation) shooting in New York. [8] (#cite_note-Emaho2012-8) [26] (#cite_note-latimes2013-27) "Fashion for me is about beauty and fantasy, all the complete opposites of my career, which dealt with the ugliness of war and the blind nationalism of politics. The real difficulty in Fashion is that it’s the complete opposite of journalistic work, which is based on interpretation of reality, with fashion it becomes an interpretation of fantasy." — Christopher Morris, Berlin Foto-Festival'13 [33] (#cite_note-BerlinFoto-Festival2013-35) In 2010, he photographed Carmen Jalving [8] (#cite_note-Emaho2012-8) and Isabella Rossellini (/wiki/Isabella_Rossellini) [5] (#cite_note-L’Artiste2011-5) for Amica . At the Tampa Bay Times Forum (/wiki/Tampa_Bay_Times_Forum) , he attended the 2012 Republican National Convention (/wiki/Republican_National_Convention) in Tampa (/wiki/Tampa,_Florida) for a shooting featuring Heidi Harrington Johnson in the editorial Beyond the conventions ("Au-delà des conventions") of the French magazine L'Officiel (/wiki/L%27Officiel) Paris, issue #970, published in November. [34] (#cite_note-36) In 2013, Dior (/wiki/Dior) -clad Marta Dyks was his model during the Haute Couture shows in Paris for L'Officiel , issue #973 of March. [33] (#cite_note-BerlinFoto-Festival2013-35) Portrait photographer [ edit ] In 2008, Morris photographed the American rock band The Killers (/wiki/The_Killers) : [35] (#cite_note-37) Mark Stoermer (/wiki/Mark_Stoermer) , Brandon Flowers (/wiki/Brandon_Flowers) , Ronnie Vannucci, Jr. (/wiki/Ronnie_Vannucci,_Jr.) , and Dave Keuning (/wiki/Dave_Keuning) near Las Vegas (/wiki/Las_Vegas) . [8] (#cite_note-Emaho2012-8) In 2011, Monastery Girl featuring Ilaria Pozzi in Italy was a personal project. [8] (#cite_note-Emaho2012-8) In 2015, Laetitia Casta (/wiki/Laetitia_Casta) opened her doors for him in Lumio (/wiki/Lumio) about the Paris Match (/wiki/Paris_Match) editorial The independent ("L'indépendante"). [36] (#cite_note-38) This French language weekly news magazine quoted the name of the photographer directly in the title of an associated article, attracting the attention of readers who wished to know more about him. [37] (#cite_note-39) Still photographer [ edit ] In August 2015, on the shooting of the movie En Moi (/wiki/En_Moi) , Morris photographed the instant where the Dutch model Lara Stone (/wiki/Lara_Stone) is become actress for her first leading role of the woman . He captured on film the moment where the French actress Laetitia Casta is become film director for the first time. [38] (#cite_note-WWD2016_05-40) He was the witness of the metamorphosis of the Japanese actor Akaji Maro (/wiki/Akaji_Maro) in his role of the man of service into the butoh (/wiki/Butoh) -dancer in the Palais Garnier (/wiki/Palais_Garnier) where the French Danseur Étoile (/wiki/Danseur_%C3%89toile) Jérémie Bélingard (/wiki/J%C3%A9r%C3%A9mie_B%C3%A9lingard) interpreted the lover of the woman in front of the camera of the French film cinematographer Benoît Delhomme (/wiki/Beno%C3%AEt_Delhomme) . [39] (#cite_note-41) Street photographer [ edit ] In his early career, Morris often photographed candidly (/wiki/Candidly) in urban settings, particularly in New York City (/wiki/New_York_City) . In 2014, his 1981 series from the New York Subway (/wiki/New_York_City_Subway) was published for the first time in Time (/wiki/Time_(magazine)) . Over a six-month period that year, Morris had embedded himself in the subway system, often riding the trains alone, but other times riding with the Guardian Angels (/wiki/Guardian_Angels) volunteer anti-crime group. [40] (#cite_note-42) Publications [ edit ] My America. Göttingen: Steidl (/wiki/Steidl) , 2006. ISBN (/wiki/ISBN_(identifier)) 978-3-86521-201-6 (/wiki/Special:BookSources/978-3-86521-201-6) . Americans. Göttingen: Steidl, 2012. ISBN (/wiki/ISBN_(identifier)) 978-3-86930-448-9 (/wiki/Special:BookSources/978-3-86930-448-9) . Exhibitions [ edit ] 2013: From War & Politics to Fashion , Berlin Foto-Festival [33] (#cite_note-BerlinFoto-Festival2013-35) Filmography [ edit ] Short films directed by Morris: [41] (#cite_note-43) People of Power [ edit ] 2006: The Dear Leader 2009: Obama’s War , Obama’s Burden , The New Leader 2011: Oval Of Power 2016: the candidates’ rallies [32] (#cite_note-time2016_02_08-34) for Time : Bernie , Cruz , Hillary , Jeb , Marco , Trump Religion [ edit ] In Wichita: 2007: The Gentle Shepherd In Rome (/wiki/Rome) : 2011: Beatus (/wiki/Beatification) 2013: Conclave (/wiki/Papal_conclave,_2013) in Vatican City (/wiki/Vatican_City) Fashion [ edit ] For Amica : 2009: Givenchy (/wiki/Givenchy) , “The Dress” 2011: “Planet Queen” Louis Vuitton (/wiki/Louis_Vuitton) , Anastasiya Bondarenko in Chanel (/wiki/Chanel) Couture , Dior Couture in Paris 2011: “Deranged” Carmen in Roberto Cavalli (/wiki/Roberto_Cavalli) featuring Carmen Jalving in Èze (/wiki/%C3%88ze) 2012: Sasha with Sasha Melnycuck For Time : 2012: Can You See Her featuring Katryn Kruger, Elena Bartels, Zuanna Bijoch, Irina Nikolaeva, Aline Weber (/wiki/Aline_Weber) , Alex Yuryeva, Olga Sherer in Paris For Le Monde : 2012: “La Robe” Serkan Cura , “La Robe” Versace (/wiki/Versace) , Valentino (/wiki/Valentino_SpA) ’s Atelier , On Aura Tout Vu , Just Look in Paris For InStyle (/wiki/InStyle) UK: 2012: “Turn Away” for Roberto Cavalli in Milan For Fragrance Inspirations : 2014: Phantom (/wiki/Vision_Research_Phantom#Cameras_and_applications) Portraits in slow motion in Paris Mood [ edit ] 2010: The Black Tide off the Louisiana (/wiki/Louisiana) coast 2011: Temporal from Arles (/wiki/Arles#Culture) to Nice Awards [ edit ] Morris, commissioned by Black Star , won: In 1990, the 2nd prize World Press Photo Award, section Spot News Series for "Casualties of Just Cause , Panama." [9] (#cite_note-apnews1990-10) For Time , the two following prizes: In 1991, the Olivier Rebbot award. [42] (#cite_note-44) In 1992, the 1991 Robert Capa Gold Medal for "Slaughter in Vukovar". [13] (#cite_note-nytimes1992-14) His other awards included: In 1992, the Magazine Photographer of the Year award from Pictures of the Year International. [43] (#cite_note-45) The Infinity Photojournalist awards from the International Center of Photography, New York. [44] (#cite_note-46) The Visa d'Or award, section News for Yugoslav Wars . [11] (#cite_note-Visa1992-12) In 2004, the 2nd prize National Press Photographers Association's Best Of Photojournalism Contest, section Magazine News Picture Story. [45] (#cite_note-47) In 2005, the Feature photography Overseas Press Club: "Inside the Hermit Kingdom (/wiki/Hermit_Kingdom) ". [46] (#cite_note-48) The 1st prize World Press Photo Award, section: people in the stories. [4] (#cite_note-WPP2005-4) See also [ edit ] Portals (/wiki/Wikipedia:Contents/Portals) : United States (/wiki/Portal:United_States) Biography (/wiki/Portal:Biography) Books (/wiki/Portal:Books) Fashion (/wiki/Portal:Fashion) Film (/wiki/Portal:Film) Notes [ edit ] ^ (#cite_ref-9) "This is war. It's not a film, it looks like it, but it's real. I documented it for you. Can we do something?" — Christopher Morris, The Digital Journalist (/wiki/The_Digital_Journalist) [6] (#cite_note-DigitalJournalist2001Editorial-6) ^ (#cite_ref-28) "The images are from the time period 2003 to 2006, when the country was really heavy into blind nationalism. In this period I felt that much of the country had wrapped its eyes so tightly with red, white and blue that it went blind." — Christopher Morris, Los Angeles Times (/wiki/Los_Angeles_Times) [26] (#cite_note-latimes2013-27) References [ edit ] ^ Jump up to: a b Laurent, Olivier (May 21, 2014). "VII Photo rises to challenges of changing photographic landscape with dynamic new agency model" (http://www.bjp-online.com/2014/05/vii-photo-rises-to-challenges-of-changing-photographic-landscape-with-dynamic-new-agency-model/) . British Journal of Photography (/wiki/British_Journal_of_Photography) . Retrieved June 9, 2016 . if Christopher Morris wants to make a film he has the freedom, contacts and support to make that film. ^ Jump up to: a b Morris, Christopher (June 9, 2014). "The Photo That Made Me: Christopher Morris, Panama 1989" (http://time.com/3450181/the-photo-that-made-me-christopher-morris-panama-1989) . Time . Retrieved June 9, 2016 . ^ Jump up to: a b Morris, Christopher (April 2001). "Battlefields" (http://digitaljournalist.org/issue0104/cm01.htm) . The Digital Journalist . Retrieved June 12, 2016 . The image above is almost a self portrait...A portrait of a whole nation weeping. ^ Jump up to: a b "Christopher Morris" (http://www.worldpressphoto.org/people/christopher-morris) . World Press Photo . 2005 . Retrieved June 9, 2016 . ^ Jump up to: a b Gibson, Mike (2011). "Christopher Morris" (http://negsy1.wix.com/l-artiste#!christopher-morris/c7nd) . L’Artiste magazine . Retrieved June 12, 2016 . ^ Jump up to: a b c d e f g h i Neri, Grazia (April 2001). "The Battlefields of Christopher Morris" (http://digitaljournalist.org/issue0104/morris_intro.htm) . The Digital Journalist . Retrieved June 12, 2016 . ^ (#cite_ref-7) Conway, Richard (January 22, 2014). "Grit, Grime and Graffiti: Christopher Morris on the New York Subway, 1981" (http://time.com/3386935/grit-grime-and-graffiti-christopher-morris-on-the-new-york-subway-1981/) . Time . Retrieved June 12, 2016 . ^ Jump up to: a b c d e f g h Katyal, Manik; Budhraja, Marukh (November 27, 2012). "Genre Straddler – Christopher Morris" (https://web.archive.org/web/20140917091810/http://www.emahomagazine.com/2012/11/genre-straddler-christopher-morris/) . Emaho magazine . Archived from the original (http://www.emahomagazine.com/2012/11/genre-straddler-christopher-morris/) on September 17, 2014 . Retrieved June 12, 2016 . ^ Jump up to: a b "List of Winners in 1990 World Press Photo Contest With PM-Press Photo Awards" (https://apnews.com/fa37a6d5b867f1551c8ccc943e5c6335) . The Associated Press (/wiki/The_Associated_Press) . 1990 . Retrieved June 9, 2016 . ^ (#cite_ref-11) "75 years of (https://www.telegraph.co.uk/culture/culturepicturegalleries/8899736/75-years-of-Life-magazine.html?image=14) Life magazine" (https://www.telegraph.co.uk/culture/culturepicturegalleries/8899736/75-years-of-Life-magazine.html?image=14) . The Telegraph . March 4, 1991 . Retrieved June 15, 2016 . ^ Jump up to: a b "International Festival of Photojournalism" (https://web.archive.org/web/20160303165219/http://www.visapourlimage.com/history/1992.do) . Visa pour l'image . 1992. Archived from the original (http://www.visapourlimage.com/history/1992.do) on March 3, 2016 . Retrieved June 9, 2016 . ^ (#cite_ref-13) Wignall, Jeff (1998). "Legends Online" (http://www.pdngallery.com/legends/morris/main09.html) . Photo District News . Black Star. p. 10 . Retrieved June 16, 2016 . ^ Jump up to: a b "Overseas Press Club Gives Award to Terry Anderson" (https://www.nytimes.com/1992/05/06/nyregion/overseas-press-club-gives-award-to-terry-anderson.html) . The New York Times . May 6, 1992 . Retrieved June 9, 2016 . ^ (#cite_ref-15) Wignall, Jeff (1998). "Legends Online" (http://www.pdngallery.com/legends/morris/main06.html) . Photo District News . Black Star. p. 7 . Retrieved June 17, 2016 . ^ (#cite_ref-16) Morris, Christopher (March 19, 2003). "Iraq: Photographer Christopher Morris Covers the War" (http://content.time.com/time/photogallery/0,29307,2044202_2229602,00.html) . Time . VII . Retrieved June 10, 2016 . ^ (#cite_ref-17) Morris, Christopher (April 8, 2011). "Theater of War: Photographs by Christopher Morris" (http://time.com/3776179/theater-of-war-photographs-by-christopher-morris/) . Time . Retrieved June 12, 2016 . {{ cite magazine (/wiki/Template:Cite_magazine) }} : Unknown parameter |agency= ignored ( help (/wiki/Help:CS1_errors#parameter_ignored) ) ^ (#cite_ref-18) Padgett, Tim; photographer Morris, Christopher (April 12, 2012). "Colombia's President Talks with TIME About Castro, Capitalism and His Country's Comeback" (http://world.time.com/2012/04/12/colombias-president-talks-with-time-about-castro-capitalism-and-his-countrys-comeback/) . Time . Retrieved June 12, 2016 . {{ cite magazine (/wiki/Template:Cite_magazine) }} : Unknown parameter |agency= ignored ( help (/wiki/Help:CS1_errors#parameter_ignored) ) ^ (#cite_ref-19) Padgett, Nate; photographer Morris, Christopher (May 17, 2012). "America's Last Living POW: Christopher Morris Photographs a Family in Waiting" (http://time.com/3788583/pow/) . Time . Retrieved June 12, 2016 . {{ cite magazine (/wiki/Template:Cite_magazine) }} : Unknown parameter |agency= ignored ( help (/wiki/Help:CS1_errors#parameter_ignored) ) ^ (#cite_ref-20) Gabriner, Alice; photographer Morris, Christopher (October 17, 2014). "Meet TIME's New International Photo Editor" (http://time.com/3589998/meet-times-new-international-photo-editor/) . Time . Retrieved June 12, 2016 . {{ cite magazine (/wiki/Template:Cite_magazine) }} : Unknown parameter |agency= ignored ( help (/wiki/Help:CS1_errors#parameter_ignored) ) ^ (#cite_ref-BirdInFlight_21-0) Osipova, Olga (November 13, 2015). "Christopher Morris: I Have a True Love of Documenting People of Power" (https://birdinflight.com/inspiration/experience/christopher-morris-i-have-a-true-love-of-documenting-people-of-power.html) . BirdInFlight.com . Retrieved June 9, 2016 . ^ (#cite_ref-22) Leparmentier, Arnaud; Nougayrède, Natalie; Wieder, Thomas; Giret, Vincent; photographer Morris, Christopher (August 30, 2013). "François Hollande sur la réforme pénale : "Mon seul objectif, c'est la sécurité" (http://www.lemonde.fr/politique/article/2013/08/30/francois-hollande-sur-la-reforme-penale-mon-seul-objectif-c-est-la-securite_3468866_823448.html) " (http://www.lemonde.fr/politique/article/2013/08/30/francois-hollande-sur-la-reforme-penale-mon-seul-objectif-c-est-la-securite_3468866_823448.html) . Le Monde (in French). VII . Retrieved June 11, 2016 . ^ (#cite_ref-23) Laurent-Simon, Caroline; photographer Morris, Christopher (November 7, 2013). "Nathalie Kosciusko-Morizet / Anne Hidalgo : Paris à tout prix" (http://www.elle.fr/Societe/Les-enquetes/Nathalie-Kosciusko-Morizet-Anne-Hidalgo-Paris-a-tout-prix-2619450) . Elle (in French) . Retrieved June 18, 2016 . ^ (#cite_ref-24) "Secret Service, photographer, scuffle at Trump rally" (http://www.miamiherald.com/news/politics-government/article63213157.html) . Miami Herald (/wiki/Miami_Herald) . February 29, 2016 . Retrieved June 18, 2016 . ^ Jump up to: a b "TIME Responds to Confrontation With Secret Service at Trump Event" (https://web.archive.org/web/20160301001935/http://time.com/4241899/donald-trump-rally-time-photographer-chris-morris/) . Time . February 29, 2016. Archived from the original (http://time.com/4241899/donald-trump-rally-time-photographer-chris-morris/) on March 1, 2016 . Retrieved February 29, 2016 . We are relieved that Chris is feeling OK ^ (#cite_ref-CNN_altercation_article_26-0) Acosta, Jim; Holmes, Kristen; Manchester, Julia; Diamond, Jeremy (February 29, 2016). "Photographer: Secret Service agent choked me at a Trump rally" (http://www.cnn.com/2016/02/29/politics/donald-trump-event-protest-rally/index.html) . CNN.com . Retrieved February 29, 2016 . ^ Jump up to: a b c Davidson, Barbara (March 18, 2013). "reFramed: In conversation with Christopher Morris" (http://framework.latimes.com/2013/03/18/reframed-christopher-morris/#/0) . Los Angeles Times . Retrieved June 10, 2016 . ^ (#cite_ref-29) B., S. (2006). "My America" (http://www.foto8.com/reviews/V5N3/myamerica.html) . foto8.com . Retrieved June 8, 2016 . ^ (#cite_ref-30) Morris, Christopher (December 3, 2012). " (http://time.com/3794182/americans-christopher-morris-captures-a-nation-divided/) 'Americans': Christopher Morris Captures a Nation Divided" (http://time.com/3794182/americans-christopher-morris-captures-a-nation-divided/) . Time . Retrieved June 8, 2016 . ^ (#cite_ref-31) Kirkpatrick, David D.; photographer Morris, Christopher (October 28, 2007). "The Evangelical Crackup" (https://www.nytimes.com/2007/10/28/magazine/28Evangelicals-t.html) . The New York Times . VII . Retrieved June 9, 2016 . That story was the centerpiece of the liberal writer Thomas Frank's 2004 book, "What's the Matter With Kansas?" He might have called it "What's the Matter With Wichita?" ^ (#cite_ref-32) Morris, Christopher (October 26, 2007). "The Gentle Shepherd" (https://www.nytimes.com/video/magazine/1194817112077/the-gentle-shepherd.html) . The New York Times (video) . Retrieved June 9, 2016 . ^ (#cite_ref-33) Morris, Christopher (March 14, 2013). "Conclave: A Short Film by Christopher Morris" (http://time.com/3797863/conclave-a-short-film-by-christopher-morris/) . Time (video) . Retrieved June 9, 2016 . Habemus Papam (/wiki/Habemus_Papam) {{ cite magazine (/wiki/Template:Cite_magazine) }} : Unknown parameter |agency= ignored ( help (/wiki/Help:CS1_errors#parameter_ignored) ) ^ Jump up to: a b Laurent, Olivier; Tsai, Diane (February 8, 2016). "Behind the Scenes of The Candidates by Christopher Morris" (http://time.com/4206960/behind-the-scenes-candidates-christopher-morris) . Time (video) . Retrieved June 10, 2016 . {{ cite magazine (/wiki/Template:Cite_magazine) }} : Unknown parameter |agency= ignored ( help (/wiki/Help:CS1_errors#parameter_ignored) ) ^ Jump up to: a b c "From War & Politics to Fashion" (http://berlin-fotofestival.de/exhibition/from-war-to-politics-to-fashion-2/) . Berlin Foto-Festival . June 13, 2013 . Retrieved June 13, 2016 . ^ (#cite_ref-36) "L'Officiel Paris Goes To Republican National Convention" (http://www.designscene.net/2012/10/lofficiel-paris-gop.html) . DesignScene.net . October 26, 2012 . Retrieved June 13, 2016 . ^ (#cite_ref-37) "Antiwar songs by (https://www.antiwarsongs.org/artista.php?id=7293&lang=en&rif=1) The Killers " (https://www.antiwarsongs.org/artista.php?id=7293&lang=en&rif=1) . AntiWarSongs.org . Retrieved June 14, 2016 . ^ (#cite_ref-38) Morris, Christopher (February 25, 2015). "Laetitia Casta, l'indépendante" (https://web.archive.org/web/20160806185925/http://www.parismatch.com/People/Cinema/Laetitia-Casta-dans-Match-Les-photos-inedites-716426#1) . Paris Match (in French). H&K. Archived from the original (http://www.parismatch.com/People/Cinema/Laetitia-Casta-dans-Match-Les-photos-inedites-716426#1) on August 6, 2016 . Retrieved June 13, 2016 . ^ (#cite_ref-39) Morris, Christopher (February 25, 2015). "L'œil du photographe : Christopher Morris commente ses photos de Laetitia Casta" (http://www.parismatch.com/Culture/Art/Christopher-Morris-commente-ses-photos-de-Laetitia-Casta-716682) [The eye of the photographer: Christopher Morris comments his Laetitia Casta’s photographs]. Paris Match (video) (in French) . Retrieved June 13, 2016 . ^ (#cite_ref-WWD2016_05_40-0) Diderich, Joelle; photographer Morris, Christopher (May 22, 2016). "2016 Cannes Film Festival: Model Laetitia Casta Unveils Directorial Debut" (http://wwd.com/eye/people/2016-cannes-film-festival-model-laetitia-casta-unveils-directorial-debut-movie-en-moi-starring-lara-stone-10435092/) . Women's Wear Daily . Retrieved June 14, 2016 . Laetitia Casta behind the camera ^ (#cite_ref-41) Morris, Christopher (August 23, 2015). "Laetita Casta (http://www.christophermorrisphotography.com/#portfolios/112/0) "En Moi" avec Lara Stone" (http://www.christophermorrisphotography.com/#portfolios/112/0) [Laetitia Casta "In Me" with Lara Stone]. ChristopherMorrisPhotography.com . Retrieved June 13, 2016 . ^ (#cite_ref-42) Conway, Richard (January 22, 2014). "Grit, Grime and Graffiti: Christopher Morris on the New York Subway, 1981" (https://time.com/3386935/grit-grime-and-graffiti-christopher-morris-on-the-new-york-subway-1981/) . Time . Retrieved December 26, 2021 . ^ (#cite_ref-43) Morris, Christopher (April 2016). "Christopher Morris" (https://vimeo.com/user2627943) . Vimeo (/wiki/Vimeo) (video) . Retrieved June 10, 2016 . ^ (#cite_ref-44) "Peter Arnett Wins Special Press Club Award" (https://www.nytimes.com/1991/04/24/us/peter-arnett-wins-special-press-club-award.html) . The New York Times . April 24, 1991 . Retrieved June 9, 2016 . ^ (#cite_ref-45) "University of Missouri News Pictures of the Year Competition and Exhibition" (http://www.poyi.org/55/oldwinners.html) . POYi (/wiki/Pictures_of_the_Year_International) . 1992 . Retrieved June 9, 2016 . ^ (#cite_ref-46) "1992 Infinity Award: Photojournalism" (https://www.icp.org/news/1992-infinity-award-photojournalism) . ICP (/wiki/International_Center_of_Photography) . March 12, 1992 . Retrieved June 9, 2016 . ^ (#cite_ref-47) "Best of photojournalism 2004 still photo winners announced" (https://nppa.org/news/179) . NPPA (/wiki/National_Press_Photographers_Association) . March 28, 2004 . Retrieved June 8, 2016 . ^ (#cite_ref-48) "2005 OPC Award Winners" (https://www.opcofamerica.org/2005-opc-award-winners/) . OPC (/wiki/Overseas_Press_Club) . 2005 . Retrieved June 9, 2016 . External links [ edit ] Official website (http://www.christophermorrisphotography.com/) VII Photo Agency Bio (http://viiphoto.com/author/christopher-morris/) Christopher Morris (https://www.instagram.com/christopher_vii/) on Instagram (/wiki/Instagram_(identifier)) Authority control databases (/wiki/Help:Authority_control) International ISNI (https://isni.org/isni/0000000116326943) VIAF (https://viaf.org/viaf/45382806) National France (https://catalogue.bnf.fr/ark:/12148/cb13194960x) BnF data (https://data.bnf.fr/ark:/12148/cb13194960x) Germany (https://d-nb.info/gnd/12947407X) Israel (http://olduli.nli.org.il/F/?func=find-b&local_base=NLX10&find_code=UID&request=987007446548205171) United States (https://id.loc.gov/authorities/nr2007005245) Czech Republic (https://aleph.nkp.cz/F/?func=find-c&local_base=aut&ccl_term=ica=jo2017964728&CON_LNG=ENG) Netherlands (http://data.bibliotheken.nl/id/thes/p149039018) Artists Photographers' Identities (https://pic.nypl.org/constituents/294356) Other IdRef (https://www.idref.fr/166990353) NewPP limit report Parsed by mw‐web.codfw.main‐7d54477855‐8n8kv Cached time: 20240627200643 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.778 seconds Real time usage: 0.940 seconds Preprocessor visited node count: 5239/1000000 Post‐expand include size: 112210/2097152 bytes Template argument size: 5130/2097152 bytes Highest expansion depth: 14/100 Expensive parser function count: 20/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 196425/5000000 bytes Lua time usage: 0.491/10.000 seconds Lua memory usage: 8062948/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 842.830 1 -total 36.83% 310.384 2 Template:Reflist 14.28% 120.398 28 Template:Cite_web 14.14% 119.181 1 Template:Infobox_person 10.89% 91.795 1 Template:Authority_control 9.63% 81.132 6 Template:Cite_news 8.75% 73.731 1 Template:Short_description 7.17% 60.455 12 Template:Cite_magazine 6.05% 50.956 2 Template:ISBN 5.94% 50.059 1 Template:Prose Saved in parser cache with key enwiki:pcache:idhash:8447855-0!canonical and timestamp 20240627200643 and revision id 1231338737. 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Flight attendants on the eponymous airline An example of the Singapore Girl Singapore Girl is a consistent visual advertising (/wiki/Advertising) slogan (/wiki/Slogan) applied to depictions of flight attendants (/wiki/Flight_attendant) [1] (#cite_note-1) [2] (#cite_note-2) [3] (#cite_note-3) [4] (#cite_note-syd-4) of Singapore Airlines (/wiki/Singapore_Airlines) (SIA) dressed in the distinctive sarong (/wiki/Sarong) kebaya (/wiki/Kebaya) SIA uniform, in use since 1972, and remains a prominent element of SIA's marketing (/wiki/Marketing) . [5] (#cite_note-5) Singapore Airlines' cabin service has been recognized with awards from magazines, travel and tourism industries, including the 'World's Best Cabin Crew Service' by the Business Traveller Asia-Pacific Awards for 23 consecutive years. [6] (#cite_note-6) Origins [ edit ] The images and branding of the Singapore Girl were first established in 1972 when Singapore Airlines took over as successor of its predecessor Malaysia-Singapore Airlines (/wiki/Malaysia-Singapore_Airlines) (MSA). The joint Malaysia and Singapore airline were set up to develop and expand an intercontinental network. An earlier traditional version of the "Sarong Kebaya" uniform was first introduced by MSA and worn by the flight attendants since 1968. Subsequently, political acrimony between Singapore and Malaysia led to the split of Malaysia-Singapore Airlines. MSA ceased operations on 1 October 1972 and Singapore Airlines took over as its successor in Singapore. Initially when Singapore Airlines was created, its advertising and branding was handled by the start-up Batey Inc, of Ian Batey. [7] (#cite_note-7) [8] (#cite_note-8) Singapore Girl was coined in 1972 when Pierre Balmain (/wiki/Pierre_Balmain) , a French (/wiki/France) haute couture (/wiki/Haute_couture) designer, was hired to construct and update the " Sarong Kebaya (/wiki/Sarong) " as part of the cabin crew's uniform. Since then, the uniform has gained worldwide recognition as part of the airline's branding. [9] (#cite_note-9) Since 1972, the image of the Singapore Girl has appeared in advertisements for the company. The theme music for the television advertising campaign was composed by Kevin Peek (/wiki/Kevin_Peek) . [10] (#cite_note-10) Global icon [ edit ] The Singapore Girl has become a visual trademark (/wiki/Trademark) [11] (#cite_note-11) and brand (/wiki/Brand) [12] (#cite_note-12) for Singapore Airlines together with the slogan "A Great Way to Fly". The Singapore Girl is said to engender "Asian values and hospitality" and has been described as "caring, warm, gentle, elegant and serene". [13] (#cite_note-13) A wax figure (/wiki/Wax_figure) of the Singapore Girl was created and shown at Madame Tussaud's (/wiki/Madame_Tussaud%27s) Wax Museum (/wiki/Wax_Museum) in London (/wiki/London) in 1994, [14] (#cite_note-14) as the first figure to represent a commercial undertaking. [15] (#cite_note-15) This sculpture was sent to the Delta Air Lines (/wiki/Delta_Air_Lines) shuttle concourse at LaGuardia Airport (/wiki/LaGuardia_Airport) in New York City (/wiki/New_York_City) in 1995. A second wax figure (https://web.archive.org/web/20150317162738/http://www.silverkris.com/stories/woman-chosen-be-singapore-airlines-new-waxwork-madame-tussauds) was unveiled in Singapore in March 2015. In March 2004, the Singapore Girl won the "Outstanding Contribution to Tourism" award for the 18th Singapore Tourism Board's Tourism Award. [16] (#cite_note-16) Since 2014, Singapore Airlines has been sponsoring the Singapore Grand Prix (/wiki/Singapore_Grand_Prix) . Since then, Singapore Airlines' assignment crew have been regularly deployed at the annual event. Singapore Girls at the Singapore Airlines Night Race 2017 Recruitment [ edit ] As part of efforts to build the image of the "Singapore Girl", the airline runs a rigorous training program for cabin and flight crew. The airline's repute, and the resulting prestige of the job, has allowed it to be highly selective during its recruitment process as it receives numerous applications locally and from around the region. Singapore Airlines used to recruit only Singaporeans and Malaysians as cabin crew, but since 1995, in line with its global expansion, recruitment extended to other countries such as China (/wiki/China) , India (/wiki/India) , Indonesia (/wiki/Indonesia) , Japan (/wiki/Japan) , Korea (/wiki/Korea) , Taiwan (/wiki/Taiwan) and Thailand (/wiki/Thailand) . This minimises language barriers between cabin crew and travellers and also maintains its essence as an Asian carrier. [17] (#cite_note-Fresh_Modern_Look_Without_Compromising_Icon-17) Singapore Airlines' flight attendant trainees have to undergo deportment classes to learn how to carry themselves when in uniform, including how to pick up objects. A training batch typically consists of 20 cabin crew trainees, and the training spans three-and-a-half months. [ citation needed ] This is one of the longest training programmes in the industry. Trainees undergo classes in flight safety and security, first aid, service, etiquette, grooming, deportment, communication and wine appreciation among others. [18] (#cite_note-18) During the training, Flight Stewardess trainees are assigned the hair styles, makeup colours and nail polish colours they are required to use when in uniform. [19] (#cite_note-19) [20] (#cite_note-20) Uniform [ edit ] Singapore Airlines Flight Stewardesses and a Leading Steward. The Flight Stewardesses are arranged in order of seniority in rank from left to right: Flight Stewardess, Leading Stewardess, Chief Stewardess, and Inflight Manager. There are four kebaya colours that represent the ranking of the Singapore Girls: Blue – "Flight Stewardess" Green – "Leading Stewardess" Red – "Chief Stewardess" Purple– "Inflight Manager" Although the uniform of the Singapore Girl has remained largely unchanged (aside from the addition of the green kebaya in 1992), the uniform for male cabin crew was updated on 30 June 2008. All male cabin crew wear the same, distinctive navy blue (/wiki/Navy_blue) suits to complement the Singapore Girl's cobalt blue kebaya , their ranks differentiated by the colours of their ties. [21] (#cite_note-sa2008-21) The four tie colours that distinguish male cabin crew: [21] (#cite_note-sa2008-21) Blue Stripes – "Flight Steward" Green Stripes – "Leading Steward" Red Stripes – "Chief Steward" Purple Stripes – "In-Flight Supervisor" This update replaces the previous uniform of business jackets and grey trousers, with jackets distinguishing their ranks: [21] (#cite_note-sa2008-21) Light Blue – "Flight Steward" Sky Blue – "Leading Steward" Navy Blue – "Chief Steward" Grey – "In-Flight Supervisor" In April 2001, the shoes were replaced by Pierre Balmain-designed safety shoes, in light of safety reviews after the Singapore Airlines Flight 006 (/wiki/Singapore_Airlines_Flight_006) crash where flight attendants complained of missing sandals. [ citation needed ] Criticisms [ edit ] The Singapore Girl marketing concept has been criticized as being sexist (/wiki/Sexism) – apart from the inaccuracy of the term Girl, the concept has been accused of being a stereotype (/wiki/Stereotype) of Asian women as being subservient. [17] (#cite_note-Fresh_Modern_Look_Without_Compromising_Icon-17) [22] (#cite_note-22) [23] (#cite_note-23) However, the marketing concept is unlikely to be replaced altogether in any future marketing campaigns: [24] (#cite_note-Icon_Will_Remain-24) "To remove the Singapore Girl icon from SIA is like removing Mickey Mouse (/wiki/Mickey_Mouse) from Disneyland (/wiki/Disneyland) ..." — Singapore's The Straits Times (/wiki/The_Straits_Times) [25] (#cite_note-25) References [ edit ] ^ (#cite_ref-1) "Press Release: Singapore Airlines A380 Lands…" (https://web.archive.org/web/20071116110157/http://a380.singaporeair.com/news_pr_20060905.html) . First to Fly A380 . 2006-09-05. Archived from the original (http://www.a380.singaporeair.com/news_pr_20060905.html) on 2007-11-16 . Retrieved 2007-11-21 . Ms Jasmine Lum Wei Ming, Singapore Airlines, Stewardess ^ (#cite_ref-2) "Cabin Crew Appointments" (http://arquivo.pt/wayback/20090709044413/http://www.singaporeair.com/saa/en_UK/content/company_info/careers/cabin_crew.jsp) . Singapore Airlines (UK Content) Job Adverts . 2007-11-05. Archived from the original (http://www.singaporeair.com/saa/en_UK/content/company_info/careers/cabin_crew.jsp) on 2009-07-09 . Retrieved 2007-11-21 . If you are warm, hospitable with a winning approach to customer service, we welcome you to join our elite team of Singaporean/ Malaysian Flight Stewardesses/ Stewards. (Residing in Singapore) ^ (#cite_ref-3) "Current Uniforms - Cabin Crew" (http://www.uniformfreak.com/1singaporeairlines.html) . 2007 . Retrieved 2007-11-21 . ^ (#cite_ref-syd_4-0) Lee, Julian (2007-09-06). "Epitome of the modern woman keeps starring role" (http://www.smh.com.au/news/news/singapore-girl-alive-and-well/2007/09/05/1188783369359.html) . The Sydney Morning Herald . Retrieved 2007-11-21 . Singapore Airlines stewardesses dressed in sarong kebaya uniform pose at Changi International Airport in Singapore. Singapore Airlines have said the iconic Singapore Girl, a symbol of the carrier's renowned in-flight service standards, will remain. Dale Woodhouse, Singapore Airlines' manager of passenger marketing, said that she would still be "front and centre of the campaign", which began last week in the lead-up to the inaugural flight on October 26. "As usual she will be a central part of the branding and the image of Singapore Airlines," Mr Woodhouse confirmed after reports earlier this year had her permanently grounded for being too old fashioned and sexist. When asked if she had been updated, Mr Woodhouse replied: "What's there to update? She's eternal, she's the epitome of the modern image [of a woman] and the traditional style of Singapore Airlines. Why would you want to get rid of that?" ^ (#cite_ref-5) Singapore Airlines Company Information (http://www.singaporeair.com/saa/en_UK/content/company_info/index.jsp) Archived (http://arquivo.pt/wayback/20090708063040/http://www.singaporeair.com/saa/en_UK/content/company_info/index.jsp) 2009-07-08 at the Portuguese Web Archive, retrieved on December 24, 2006. ^ (#cite_ref-6) SIA Awards & Achievements (http://www.singaporeair.com/en_UK/about-us/sia-history/sia-awards/) , retrieved on June 20, 2015. ^ (#cite_ref-7) Entrepreneurs (http://www.vlifestyle.com/entrepreneurs/inside1.htm#Ian_Batey) ^ (#cite_ref-8) "Batey" (https://web.archive.org/web/20140516194449/http://batey.com.sg/) . Archived from the original (http://www.batey.com.sg/) on 2014-05-16 . Retrieved 2007-11-14 . ^ (#cite_ref-9) "The Creation of Singapore Airlines" (http://arquivo.pt/wayback/20090709113843/http://www.singaporeair.com/saa/en_UK/content/company_info/siastory/history.jsp) . Singapore Airlines. 2007. Archived from the original (http://www.singaporeair.com/saa/en_UK/content/company_info/siastory/history.jsp) on 2009-07-09. ^ (#cite_ref-10) "Small funeral for disgraced Sky guitarist" (http://www.perthnow.com.au/news/western-australia/small-funeral-for-disgraced-sky-guitarist-kevin-peek/story-e6frg13u-1226580649832) . 18 February 2013. ^ (#cite_ref-11) Phan, Dr. Seamus. "Rejuvenating Ageing Brands" (https://web.archive.org/web/20071031092947/http://www.allaboutbranding.com/index.lasso?article=282) . All about branding . Archived from the original (http://allaboutbranding.com/index.lasso?article=282) on 2007-10-31 . Retrieved 2007-11-21 . ^ (#cite_ref-12) Roll, Martin. "Singapore Airlines - An Excellent Asian Brand" (https://web.archive.org/web/20071022183934/http://www.allaboutbranding.com/index.lasso?article=382) . All about branding . Archived from the original (http://www.allaboutbranding.com/index.lasso?article=382) on 2007-10-22 . Retrieved 2007-11-21 . Think about one of the strongest brands from Asia, and chances are that Singapore Airlines and its long-serving, almost iconic Singapore Girl easily come to mind. ^ (#cite_ref-13) Singapore Airlines - An Excellent Asian Brand (http://www.venturerepublic.com/resources/Singapore_Airlines_-_An_Excellent_Asian_Brand.asp) Archived (https://web.archive.org/web/20061225151910/http://www.venturerepublic.com/resources/Singapore_Airlines_-_An_Excellent_Asian_Brand.asp) 2006-12-25 at the Wayback Machine (/wiki/Wayback_Machine) , VentureRepublic, retrieved on December 24, 2006. ^ (#cite_ref-14) Richardson, Michael (1993-06-08). "The Singapore Girl" (https://web.archive.org/web/20070913070651/http://www.iht.com/articles/1993/06/08/wax.php) . International Herald Tribune . Archived from the original (http://www.iht.com/articles/1993/06/08/wax.php) on 2007-09-13 . Retrieved 2007-11-21 . Just how many more Singapore Airlines stewardesses must be molested in flight before the airline reduces the free flow of alcoholic drinks to passengers?" thundered Tan Sai Siong in a recent column for the Straits Times, Singapore's main English-language newspaper. TAN was writing after a German metalworker was fined 2,000 Singapore dollars for hugging a Singapore Airlines flight attendant during a flight from Frankfurt to Singapore. A Japanese farmer was docked a similar amount for molesting a flight attendant during a flight from Nagoya to Singapore. At about the same time, a Sri Lankan was fined 1,000 Singapore dollars for punching a Singapore Airlines steward who told him to stop staring at a female colleague in the cabin crew and return to his seat. In a letter to the Straits Times, a Singaporean reader, Chan Kwee Sung, said it was not "alcohol that spurs the libido of the male passenger, but the image of the Singapore Girl that has so long been the hard sell of SIA all over the world. ^ (#cite_ref-15) Singapore Airlines - flying tiger (http://www.brandchannel.com/features_profile.asp?pr_id=209) Archived (https://web.archive.org/web/20061117071258/http://www.brandchannel.com/features_profile.asp?pr_id=209) 2006-11-17 at the Wayback Machine (/wiki/Wayback_Machine) , Brandchannel.com, retrieved on December 24, 2006. ^ (#cite_ref-16) Outstanding Contribution to Tourism award to the Singapore Girl (https://web.archive.org/web/20051016154149/http://www.singaporeair.com/saa/en_UK/content/company_info/news/achievements.jsp) ^ Jump up to: a b Archana Venkat (2007-05-08). "The 'Singapore girl' may get an Indian face" (https://web.archive.org/web/20090609222909/http://www.thehindubusinessline.com/2007/05/08/stories/2007050804000500.htm) . Chennai: The Hindu Business Line (/wiki/The_Hindu_Business_Line) . Archived from the original (http://www.thehindubusinessline.com/2007/05/08/stories/2007050804000500.htm) on 2009-06-09 . Retrieved 2007-12-28 . Brand will have a fresh, modern look without compromising the icon; "The Singapore Girl will remain. She is not a creature of advertising," assured Mr Stephen Forshaw, Vice-President (Public Affairs), Singapore Airlines ^ (#cite_ref-18) Singapore Airlines (2024). "Singapore Airlines, Our Cabin Crew" (https://www.singaporeair.com/en_UK/us/flying-withus/our-story/our-cabin-crew/) . Singapore Airlines . Retrieved 4 April 2024 . ^ (#cite_ref-19) Does Singapore Airlines Have the Most Intense Cabin Crew Training in the World? | Channel 4 . Retrieved 2024-04-04 – via www.youtube.com. ^ (#cite_ref-20) Leff, Gary (2017-11-11). "Singapore's Flight Attendant Training is Amazing But Rubs Me the Wrong Way" (https://viewfromthewing.com/singapores-flight-attendant-training-amazing-rubs-wrong-way/) . View from the Wing . Retrieved 2024-04-04 . ^ Jump up to: a b c "Singapore Airlines -- News Releases" (https://web.archive.org/web/20080705205057/http://www.singaporeair.com/mediacentre/pacontent/news/NE_3208.jsp) . Archived from the original (http://www.singaporeair.com/mediacentre/pacontent/news/NE_3208.jsp) on 2008-07-05 . Retrieved 2008-10-30 . ^ (#cite_ref-22) Dines, Gail; Jean McMahon Humez (2003). Gender, Race, and Class in Media: A Text-Reader . Sage. ISBN (/wiki/ISBN_(identifier)) 978-0-7619-2261-2 . ^ (#cite_ref-23) Ryan, Chris; Colin Michael Hall (2001). Sex Tourism: Marginal People and Liminalities . Routledge. p. 142. ISBN (/wiki/ISBN_(identifier)) 978-0-415-19509-6 . ^ (#cite_ref-Icon_Will_Remain_24-0) Gamar Abdul Aziz (2007-03-09). "SIA says Singapore Girl icon will remain, no change to uniform" (http://www.channelnewsasia.com/stories/singaporebusinessnews/view/263015/1/.html) . Singapore: Channel NewsAsia (/wiki/Channel_NewsAsia) . Retrieved 2007-12-28 . ^ (#cite_ref-25) "Singapore Girl: The result of the world's 'most intense' cabin crew training" (https://www.asiaone.com/singapore/singapore-girl-result-worlds-most-intense-cabin-crew-training) . Retrieved 6 November 2020 . External links [ edit ] Singapore portal (/wiki/Portal:Singapore) Fashion portal (/wiki/Portal:Fashion) The Singapore Girls (https://www.usatoday.com/travel/gsingaporegirls/flash.htm) , Audio reportage by Jayne Clark of USA Today (/wiki/USA_Today) in Flash (/wiki/Adobe_Flash) format. Video clip of SQ cabin crews on YouTube (/wiki/YouTube_video_(identifier)) v t e Singapore Airlines History Malayan Airways (/wiki/Malayan_Airways) Malaysian Airways (/wiki/Malaysian_Airways) Malaysia-Singapore Airlines (/wiki/Malaysia-Singapore_Airlines) Incidents and accidents Flight 117 (/wiki/Singapore_Airlines_Flight_117) Flight 006 (/wiki/Singapore_Airlines_Flight_006) Flight 321 (/wiki/Singapore_Airlines_Flight_321) Services Passenger Destinations (/wiki/List_of_Singapore_Airlines_destinations) Flights 21 and 22 (/wiki/Singapore_Airlines_Flights_21_and_22) Flights 23 and 24 (/wiki/Singapore_Airlines_Flights_23_and_24) Freighter Destinations (/wiki/List_of_Singapore_Airlines_Cargo_destinations) Fleet (/wiki/Singapore_Airlines_fleet) KrisFlyer (/wiki/KrisFlyer) Singapore Girl People J. Y. Pillay (/wiki/J._Y._Pillay) Cheong Choong Kong (/wiki/Cheong_Choong_Kong) Chew Choon Seng (/wiki/Chew_Choon_Seng) Goh Choon Phong (/wiki/Goh_Choon_Phong) Subsidiaries Budget Aviation Holdings (/wiki/Budget_Aviation_Holdings) Scoot (/wiki/Scoot) SIA Engineering Company (/wiki/SIA_Engineering_Company) Singapore Airlines Cargo (/wiki/Singapore_Airlines_Cargo) Singapore Flying College (/wiki/Singapore_Flying_College) Vistara (/wiki/Vistara) (49%) Former subsidiaries SilkAir (/wiki/SilkAir) Singapore Airlines Cargo (/wiki/Singapore_Airlines_Cargo) SATS (/wiki/SATS_(company)) Tiger Airways Holdings (/wiki/Tiger_Airways_Holdings) Virgin Atlantic (/wiki/Virgin_Atlantic) (49%) Virgin Australia Holdings (/wiki/Virgin_Australia_Holdings) (20%) Tigerair Australia (/wiki/Tigerair_Australia) Virgin Australia (/wiki/Virgin_Australia) Virgin Australia Regional Airlines (/wiki/Virgin_Australia_Regional_Airlines) NewPP limit report Parsed by mw‐web.codfw.main‐58c7647fd9‐jg42n Cached time: 20240713175153 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.367 seconds Real time usage: 0.500 seconds Preprocessor visited node count: 1938/1000000 Post‐expand include size: 59555/2097152 bytes Template argument size: 2518/2097152 bytes Highest expansion depth: 18/100 Expensive parser function count: 4/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 85510/5000000 bytes Lua time usage: 0.228/10.000 seconds Lua memory usage: 5944969/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 442.065 1 -total 42.81% 189.241 1 Template:Reflist 29.60% 130.870 13 Template:Cite_web 18.08% 79.926 1 Template:Short_description 17.09% 75.541 1 Template:Singapore_Airlines 16.95% 74.915 2 Template:Navbox 11.97% 52.904 2 Template:Pagetype 9.11% 40.294 2 Template:Cn 7.59% 33.574 2 Template:Fix 4.73% 20.914 4 Template:Category_handler Saved in parser cache with key enwiki:pcache:idhash:8590295-0!canonical and timestamp 20240713175153 and revision id 1220990292. Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Singapore_Girl&oldid=1220990292 (https://en.wikipedia.org/w/index.php?title=Singapore_Girl&oldid=1220990292) " Categories (/wiki/Help:Category) : Singaporean brands (/wiki/Category:Singaporean_brands) Singapore Airlines (/wiki/Category:Singapore_Airlines) Works about flight attendants (/wiki/Category:Works_about_flight_attendants) Hidden categories: Webarchive template other archives (/wiki/Category:Webarchive_template_other_archives) Webarchive template wayback links (/wiki/Category:Webarchive_template_wayback_links) Articles with short description (/wiki/Category:Articles_with_short_description) Short description is different from Wikidata (/wiki/Category:Short_description_is_different_from_Wikidata) All articles with unsourced statements (/wiki/Category:All_articles_with_unsourced_statements) Articles with unsourced statements from September 2023 (/wiki/Category:Articles_with_unsourced_statements_from_September_2023) |
Bra designed for strenuous exercise Not to be confused with Training bra (/wiki/Training_bra) . For the bar in Portland, Oregon, see The Sports Bra (/wiki/The_Sports_Bra) . Front view and back view of a person wearing a sports bra. A sports bra is a bra (/wiki/Bra) that provides support to the breasts (/wiki/Breast) during physical exercise. Sturdier than typical bras, they minimize breast movement and alleviate discomfort. [1] (#cite_note-Hyde-1) Many women wear sports bras to reduce pain and physical discomfort caused by breast movement during exercise. Some sports bras are designed to be worn as outerwear during exercise such as running. There are also sports bras with extra padding for exercises that involve some kind of trauma to the breasts. [1] (#cite_note-Hyde-1) The sports bra was deemed a serious innovation which gave women the confidence and comfort to play sports, which came with a revolution in women's sport. In 2022 its inventors, Lisa Lindahl (/wiki/Lisa_Lindahl) , Polly Smith (/wiki/Polly_Smith_(inventor)) , and Hinda Miller (/wiki/Hinda_Miller) (formerly Hinda Schreiber), were admitted to the US National Inventors Hall of Fame (/wiki/National_Inventors_Hall_of_Fame) . [2] (#cite_note-2) History [ edit ] Main article: History of brassieres (/wiki/History_of_brassieres) Jogbra, back view with packaging, "The Professional Athletic Support Bra That Keeps Breasts from Bouncing" A woman wearing sports-bra and boy shorts (/wiki/Boy_shorts) as casual wear (/wiki/Casual_wear) while walking in public, Sydney (/wiki/Sydney) , 2012. The first commercially available sports bra was the "Free Swing Tennis Bra" introduced by Glamorise Foundations, Inc. in 1975. [3] (#cite_note-3) The first general exercise bra, initially called a "jockbra", was invented in 1977 by Lisa Lindahl (/wiki/Lisa_Lindahl) and theater costume designer Polly Smith (/wiki/Polly_Smith_(inventor)) with the help of Smith's assistant, Hinda Schreiber (/wiki/Hinda_Miller) . Both Lindahl and her sister, Victoria Woodrow, complained about their bad experience exercising in ordinary bras, having experienced runaway straps, chafing and sore breasts. During the course of Lindahl and Smith's exploration for a better alternative, it was suggested that what they needed was a jockstrap (/wiki/Jockstrap) for women's breasts. [4] (#cite_note-Distillations-4) In the costume shop of Royall Tyler Theatre at the University of Vermont (/wiki/University_of_Vermont) , Lindahl and Smith actually sewed two jockstraps together and nicknamed it a "jockbra". It was later renamed a "jogbra". [4] (#cite_note-Distillations-4) One of their original Jogbras is bronzed and on display near the costume shop of the theatre. Two others are housed by the Smithsonian (/wiki/Smithsonian_Institution) and another by the New York Metropolitan Museum of Art (/wiki/Metropolitan_Museum_of_Art) . [5] (#cite_note-5) In 1990, Playtex (/wiki/Playtex) purchased Jogbra from Lindahl and her partners. This was followed by research by Christine Haycock, associate professor of surgery at the University of Medicine and Dentistry of New Jersey (/wiki/University_of_Medicine_and_Dentistry_of_New_Jersey) . She measured breast movement of women running on treadmills. Sought out by bra manufacturers for her expertise, she advocated wide bottom bands for extra support and firm straps that minimized breasts bounce. Renelle Braaten, a Montana hairdresser, struggled to contain her DD (/wiki/Bra_size) -sized breasts while playing racquetball and volleyball. Unable to interest mainstream bra manufacturers, she collaborated with freelance apparel designer Heidi Fisk, and founded Enell Incorporated. After considerable lobbying, she persuaded Oprah Winfrey (/wiki/Oprah_Winfrey) in 2001 to try her bra. This led to very positive reviews in O: The Oprah Magazine (/wiki/O:_The_Oprah_Magazine) , a 2001 appearance on The Oprah Winfrey Show (/wiki/The_Oprah_Winfrey_Show) , and a huge surge in orders. [6] (#cite_note-history-6) In 1999, at the 1999 FIFA Women's World Cup Final (/wiki/1999_FIFA_Women%27s_World_Cup_Final) in Pasadena, California (/wiki/Pasadena,_California) , after scoring the fifth kick in the penalty shootout (/wiki/Penalty_shootout_(football)) to give the United States the win over China (/wiki/China_women%27s_national_football_team) in the final game, Brandi Chastain (/wiki/Brandi_Chastain) celebrated by spontaneously taking off her jersey and falling to her knees in a sports bra. The image is considered as an iconic photograph of a woman celebrating an athletic victory. It was the first time that an international woman footballer had removed her top, exposing her sports bra. [7] (#cite_note-Longman-7) [8] (#cite_note-8) Design challenges [ edit ] See also: List of bra designs (/wiki/List_of_bra_designs) Sports bras can either encapsulate or compress breasts. Bras that encapsulate breasts have molded cups designed to fit around each breast. Bras that compress are designed to restrict movement by holding the breasts firmly against the body. Encapsulation-type bras are generally more effective at reducing discomfort, while compression bras may be more effective for high-intensity activities. The most common sports bra is basically designed like a tank top (/wiki/Sleeveless_shirt) with the bottom half cut off. Other designs use gel and water pads, silver fibres, and air bags. A stitchless bra was made by Wacoal (/wiki/Wacoal) , was molded, compressed, and shaped. A compressed bra is designed to push the breasts against the chest to reduce movement and bounce. Other bras are knitted in circular patterns, giving varying stretch and support. [9] (#cite_note-casselman-9) A common design uses a stretchable, absorbent fabric such as Lycra (/wiki/Lycra) designed to reduce irritation by drawing perspiration (/wiki/Perspiration) away from the skin. Sports bras are also worn by women after certain surgical procedures. In those situations, a front-closing sports bra with a compression, seamless cup is recommended for healing and comfort. Certain fabrics such as Lycra have been found to help reduce swelling and help "even-out" a bustline that has been altered by a surgical procedure. Sports bras are also manufactured for men with large breasts to enable them to take part more comfortably in physical activity. Some descriptions used euphemistically to describe bras for men are chest binders, compression vests or shimmels. [10] (#cite_note-Bumgardner-10) Problems arise from the shoulder straps of standard bras. Standard well-fitting bras are constructed in the form of a "square frame", with all dimensions adjusted for each woman in a normal standing position, with arms to the sides. When a woman performs an activity which requires her to lift her arms above the shoulders, the frame is strained because it is anchored by the chest band, putting direct pressure on the shoulder trapezius muscles (/wiki/Trapezius_muscles) . This may result in neck and shoulder pain, numbness and tingling in the arm and headaches. [11] (#cite_note-11) [12] (#cite_note-ryan-12) To avoid such problems the bra's shoulder straps are usually crossed at the back, or the bra is worn halter (/wiki/Halterneck) -style. Levels of control [ edit ] Different physical activities require different levels of breast control. Yoga (/wiki/Yoga) , walking (/wiki/Walking) and gardening (/wiki/Gardening) require only "light" control; bicycling (/wiki/Bicycling) , power walking (/wiki/Power_walking) and hiking (/wiki/Hiking) require "moderate" control; tennis (/wiki/Tennis) , soccer (/wiki/Soccer) and jogging (/wiki/Jogging) requires "firm" control; and running (/wiki/Running) , intense workouts (/wiki/Workout) , boxing (/wiki/Women%27s_boxing) and horseback riding (/wiki/Horseback_riding) requires "maximum" control. Some female athletes are concerned that a sports bra may interfere with breathing, but even though increased pressure on the rib cage has been demonstrated, no significant effect on breathing can be shown. [13] (#cite_note-13) Benefits [ edit ] All of the women in the United Kingdom's 2020 Olympic team were fitted with custom bras to deliver comfort and benefit. Research by Joanna Wakefield-Scurr indicates that an ill-fitting bra can shorten an athlete's stride by 4 centimetres (1.6 in). A survey found that about a quarter of women athletes suffer breast pain. Women rowers were offered different designs to runners because the latter suffered higher impacts and this necessitated individual support for each breast. In the case of competitive shooters the purpose can just be to keep them out of the way. Lorraine Lambert (/wiki/Lorraine_Lambert) had a special design because she is a competitive shooter. She has to avoid her breasts touching her gun which could result in disqualification. [14] (#cite_note-14) Recognition [ edit ] Lisa Lindahl, Hinda Miller (/wiki/Hinda_Miller) (formerly Hinda Schreiber), and Polly Smith were inducted into the National Inventors Hall of Fame (/wiki/National_Inventors_Hall_of_Fame) in 2022 for their patented sports bra. [15] (#cite_note-15) See also [ edit ] Sports portal (/wiki/Portal:Sports) Fashion portal (/wiki/Portal:Fashion) Athleisure (/wiki/Athleisure) Fitness fashion (/wiki/Fitness_fashion) Spandex (/wiki/Spandex) Sportswear (/wiki/Sportswear) Underwear as outerwear (/wiki/Underwear_as_outerwear) References [ edit ] ^ Jump up to: a b Thomas E. Hyde, Marianne S. Gengenbach (2007). Conservative Management of Sports Injuries . Jones & Bartlett Learning. p. 863. ISBN (/wiki/ISBN_(identifier)) 9780763732523 . ^ (#cite_ref-2) Honderich, Holly (11 May 2022). "The 'jockstrap' that revolutionised women's sports" (https://www.bbc.co.uk/news/world-us-canada-61387881) . BBC News . ^ (#cite_ref-3) Zorn, Marc (2014-09-18). "When Were Sports Bras Invented" (https://visionlaunch.com/when-were-sports-bras-invented/) . Vision Launch Media . Retrieved 2022-12-31 . ^ Jump up to: a b Roberts, Jacob (2017). "Women's work" (https://www.sciencehistory.org/distillations/magazine/womens-work) . Distillations . 3 (1): 6–11 . Retrieved 22 March 2018 . ^ (#cite_ref-5) Dorschner, Cheryl (30 March 2005). "History-Changing Garment Born in Theater Costume Shop" (https://web.archive.org/web/20140516195454/http://www.uvm.edu/~uvmpr/?Page=article.php&id=1598) . Archived from the original (http://www.uvm.edu/~uvmpr/?Page=article.php&id=1598) on 2014-05-16. PDF (http://www.uvm.edu/theview/pdfs/033005.pdf) ^ (#cite_ref-history_6-0) "A History of the Sports Bra" (https://web.archive.org/web/20100217012334/http://www.ladiesonlysports.com/somehistory.html) . Women's Adventure Magazine . March–April 2007. Archived from the original (http://www.ladiesonlysports.com/somehistory.html) on 2010-02-17. ^ (#cite_ref-Longman_7-0) Jere Longman (July 5, 2003). "The Sports Bra Seen Round the World" (https://www.nytimes.com/2003/07/05/sports/soccer-the-sports-bra-seen-round-the-world.html) . New York Times . ^ (#cite_ref-8) "100 Greatest Sports Photos of All Time #14 - Brandi Chastain - Women's World Cup" (https://web.archive.org/web/20130121113040/http://sportsillustrated.cnn.com/main/photos/1212/100-greatest-sports-photos-of-all-time-final/14) . Sports Illustrated . 10 July 1999. Archived from the original (http://sportsillustrated.cnn.com/main/photos/1212/100-greatest-sports-photos-of-all-time-final/14) on 21 January 2013. ^ (#cite_ref-casselman_9-0) Casselman, Anne (2005). "The Physics of Bras" (http://discovermagazine.com/2005/nov/physics-of-bras) . Discover (/wiki/Discover_(magazine)) . 26 (11) . Retrieved 2014-07-31 . ^ (#cite_ref-Bumgardner_10-0) Bumgardner, Wendy. "Men Who Need Chest Support" (https://web.archive.org/web/20070906065439/http://walking.about.com/od/sportsbras/a/sensmensbra.htm) . About.com (/wiki/About.com) . Archived from the original (http://walking.about.com/od/sportsbras/a/sensmensbra.htm) on 2007-09-06 . Retrieved 2011-01-13 . ^ (#cite_ref-11) Kowalske, Karen (August 2006). "Health Watch -- Women's Health: Bra Straps" (https://web.archive.org/web/20060921054302/http://www.utsouthwestern.edu/utsw/cda/dept16498/files/311483.html) . The University of Texas Southwestern Medical Center . Dallas. Archived from the original (http://www.utsouthwestern.edu/utsw/cda/dept16498/files/311483.html) on 21 September 2006. ^ (#cite_ref-ryan_12-0) Ryan EL (December 2000). "Pectoral girdle myalgia in women: a 5-year study in a clinical setting". Clin J Pain . 16 (4): 298–303. doi (/wiki/Doi_(identifier)) : 10.1097/00002508-200012000-00004 (https://doi.org/10.1097%2F00002508-200012000-00004) . PMID (/wiki/PMID_(identifier)) 11153784 (https://pubmed.ncbi.nlm.nih.gov/11153784) . ^ (#cite_ref-13) Bowles, KA; Steele, JR; Chaunchaiyakul, R (September 2005). "Do current sports brassiere designs impede respiratory function?" (https://doi.org/10.1249%2F01.mss.0000177590.75686.28) . Med Sci Sports Exerc . 37 (9): 1633–40. doi (/wiki/Doi_(identifier)) : 10.1249/01.mss.0000177590.75686.28 (https://doi.org/10.1249%2F01.mss.0000177590.75686.28) . PMID (/wiki/PMID_(identifier)) 16177619 (https://pubmed.ncbi.nlm.nih.gov/16177619) . S2CID (/wiki/S2CID_(identifier)) 11323078 (https://api.semanticscholar.org/CorpusID:11323078) . ^ (#cite_ref-14) " (https://www.theguardian.com/sport/2021/jun/18/theyre-not-treating-us-as-small-men-team-gb-women-get-the-right-bras) 'They're not treating us as small men': Team GB women get the right bras" (https://www.theguardian.com/sport/2021/jun/18/theyre-not-treating-us-as-small-men-team-gb-women-get-the-right-bras) . the Guardian . 2021-06-18 . Retrieved 2021-06-21 . ^ (#cite_ref-15) "Complete list of NIHF inductees" (https://www.invent.org/NIHF-hall-of-fame-inductees-list-alphabetical) . Official website of the National Inventors Hall of Fame . Retrieved 13 June 2022 . External links [ edit ] Wikimedia Commons has media related to Sports bras (https://commons.wikimedia.org/wiki/Category:Sports_bras) . Given, Karen (February 24, 2017). "From the 'Jockbra' to Brandi Chastain: The History of the Sports Bra" (http://www.wbur.org/onlyagame/2017/02/24/sports-bra-lisa-lindahl) . Only a Game (/wiki/Only_a_Game) . WBUR-FM (/wiki/WBUR-FM) ( NPR (/wiki/NPR) ) . 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Needlework technique Cutwork frill on a cotton petticoat (/wiki/Petticoat) Cutwork or cut work , also known as punto tagliato in Italian, is a needlework (/wiki/Needlework) technique in which portions of a textile (/wiki/Textile) , typically cotton or linen, [1] (#cite_note-1) are cut away and the resulting "hole" is reinforced and filled with embroidery (/wiki/Embroidery) or needle lace (/wiki/Needle_lace) . Cutwork is related to drawn thread work (/wiki/Drawn_thread_work) . In drawn thread work, typically only the warp (/wiki/Warp_(weaving)) or weft (/wiki/Weft) threads are withdrawn (cut and removed), and the remaining threads in the resulting hole are bound in various ways. In other types of cutwork, both warp and weft threads may be drawn. Different forms of cutwork are or have traditionally been popular in a number of countries. Needlework styles that incorporate cutwork include broderie anglaise (/wiki/Broderie_anglaise) , Carrickmacross lace (/wiki/Carrickmacross_lace) , whitework (/wiki/Whitework) , early reticella (/wiki/Reticella) , Spanish cutwork, hedebo (/wiki/Hedebo_embroidery) , [2] (#cite_note-2) and jaali which is prevalent in India. There are degrees of cutwork, ranging from the smallest amount of fabric cut away (Renaissance cutwork) to the greatest (Reticella cutwork). Richelieu cutwork in the middle. [3] (#cite_note-:1-3) : 378 Eyelet fabrics [ edit ] Machine-sewn eyelet fabric Hand-sewn eyelet embroidery Eyelet is both a type of cutwork embroidery (/wiki/Embroidery) and the fabric made from embroidering cutwork. Cutwork is used to create eyelet fabrics by cutting small holes and embroidering the edges of those holes to finish them. Common base fabrics include broadcloth (/wiki/Broadcloth) , batiste (/wiki/Cambric) , lawn (/wiki/Lawn_cloth) , linen, organdy (/wiki/Organdy) , and pique (/wiki/Piqu%C3%A9_(weaving)) . [4] (#cite_note-:2-4) Leather and pleather (/wiki/Artificial_leather) [4] (#cite_note-:2-4) can also be used in cutwork, but often they are not then finished with embroidery. The amount and closeness of stitching, as well as the quality of the background fabric, may vary in different types. Eyelet fabrics are an ever-popular type of fabric [5] (#cite_note-5) and are used for both entire clothing pieces or for trimming pieces made from other cloth. It is also commonly used to trim bedding, curtains, and table linens. [4] (#cite_note-:2-4) Hand-sewn eyelet is labor-intensive to produce by hand and traditionally was only used as trim or, when used in large pieces, only for expensive items; machine-made eyelet fabric made the fabric affordable for everyday wear. History [ edit ] The cutwork technique originated in Italy at the time of the Renaissance (/wiki/Italian_Renaissance) , approximately the 14th, 15th, and 16th centuries. [6] (#cite_note-6) In Renaissance embroidery and Richelieu work, the design is formed by cutting away the background fabric. [7] (#cite_note-:0-7) In the Elizabethan era (/wiki/Elizabethan_era) , cutwork was incorporated into the design and decoration of some ruffs (/wiki/Ruff_(clothing)) . In a fashion sense, this type of needlework has migrated to countries around the world, [8] (#cite_note-8) including the United Kingdom, India, and the United States. Dresden samplers (/w/index.php?title=Dresden_samplers&action=edit&redlink=1) contained white cutwork, along with needle lace (/wiki/Needle_lace) . [9] (#cite_note-9) : 195 Cutwork is still prevalent in fashion today, and although they are different, cutwork is commonly mistaken for lace (/wiki/Lace) . The eyelet pattern is one of the more identifiable types of cutwork in modern fashion. In eyelet embroidery, the design comes from the holes, rather than the fabric. [7] (#cite_note-:0-7) Traditional cutwork by country [ edit ] Czech Republic [ edit ] Densely worked cutwork was traditional in many parts of the Czech Republic. Motifs might be circular, arc, or leaf-shaped. Because the motifs were often so close together, the embroidery looked like lace once all the motif centers were cut away. [10] (#cite_note-10) : 120 Italy [ edit ] Embroidery pattern books after 1560 focused heavily on cutwork, as it became very popular in Italy. Initially, scrolling patterns worked in punto in aria (/wiki/Punto_in_Aria) were most evident, changing at the end of the century to reticella (/wiki/Reticella) . The punto in aria technique involved laying threads over a linen ground, and then cutting the ground away. It was often use for freer patterns than the more geometric reticella, where squares of the ground cloth were cut out and embroidery was then applied. [11] (#cite_note-11) : 138 Madeira [ edit ] in the 1850s, an Englishwoman, Miss Phelps, arrived in Madeira to recuperate, and she gave lessons in broderie anglaise. In the 1920s, after noting many skilled needlewomen. the Madeira Embroidery Guild was formed. Amongst its purposes was to set the pay and standards for embroiderers on the island. As indicated by the existence of the guild, many women in Madeira engaged in embroidery as a way of earning money for their families. [12] (#cite_note-12) Netherlands [ edit ] Cutwork was popular throughout the Netherlands. An especially fine form of cutwork is called snee werk, used for decorating clothing such as aprons and blouses, and household items such as pillowcases. [3] (#cite_note-:1-3) : 185 Poland [ edit ] The eyelet form of cutwork was popular in the Polish countryside from the 1700s, if not earlier. It was used to decorate costumes and textiles for the home. The execution of this hand embroidery reached its height in the late 1800s, a prosperous time with more money for clothing. Eyelet embroidery was found on men's clothing as well as women's. For those who couldn't afford larger garments, eyelet collars that could be used to adorn different blouses were popular. Cutwork was usually done on white fabric, but around Sieradz (/wiki/Sieradz) , a pink and white striped cloth was sometimes used. Eyelet patterns were geometrical until the late 1800s. With the introduction of machine embroidery, designs became more diverse. [7] (#cite_note-:0-7) : 125–132 Fragment of Cutwork Lace, Italy, late 17th century (Cleveland Museum of Art). This is an example of eyelet cutwork. Sweden [ edit ] Hålsöm, or cutwork, was a traditional form of embroidery in Sweden, and used for household linens. [3] (#cite_note-:1-3) : 257 Hand cutwork [ edit ] Hand cutworks is the most traditional form of cutwork. Here, areas of the fabric are cut away and stitch is applied to stop the raw edges from fraying. [13] (#cite_note-SorgerUdale2006-13) Laser cutwork [ edit ] Laser cutwork allows for more precise and intricate patterns to be created. The laser also has the ability to melt and seal the edges of fabric with the heat of the laser. This helps against fabric fraying during the creation process. [13] (#cite_note-SorgerUdale2006-13) Additionally, using a laser for cutwork enables the embroiderer or creator to achieve unique designs such as an 'etched look' by changing the depth of the laser cut into the fabric. References [ edit ] ^ (#cite_ref-1) "What is Cutwork Embroidery? (With picture)" (http://www.wisegeek.com/what-is-cutwork-embroidery.htm) . 12 January 2024. ^ (#cite_ref-2) "Hedebo Definition & Meaning - Merriam-Webster" (http://www.merriam-webster.com/dictionary/hedebo) . ^ Jump up to: a b c Gostelow, Mary (1975). A world of embroidery . New York: Scribner. ISBN (/wiki/ISBN_(identifier)) 0-684-14230-9 . OCLC (/wiki/OCLC_(identifier)) 1413213 (https://www.worldcat.org/oclc/1413213) . ^ Jump up to: a b c Betzina, Sandra (2004). More Fabric Savvy: A Quick Resource Guide to Selecting and Sewing Fabric . Taunton Press. ISBN (/wiki/ISBN_(identifier)) 978-1-56158-662-2 . ^ (#cite_ref-5) Hollen, Norma Rosamond (1979). Textiles . New York: Macmillan. p. 230. ISBN (/wiki/ISBN_(identifier)) 978-0-02-356130-6 . ^ (#cite_ref-6) "Cutwork | Britannica" (http://www.britannica.com/EBchecked/topic/147612/cutwork) . ^ Jump up to: a b c Kozaczka, Grażyna J. (1987). Old world stitchery for today : Polish eyelet embroidery, cutwork, goldwork, beadwork, drawn thread, and other techniques . Radnor, Pa.: Chilton Books Co. p. 134. ISBN (/wiki/ISBN_(identifier)) 0-8019-7732-0 . OCLC (/wiki/OCLC_(identifier)) 16130502 (https://www.worldcat.org/oclc/16130502) . ^ (#cite_ref-8) "Trend alert: Cutwork - Times of India" (https://web.archive.org/web/20140202215245/http://articles.timesofindia.indiatimes.com/2013-08-22/trends/35347497_1_embroidery-jatin-varma-technique) . articles.timesofindia.indiatimes.com . Archived from the original (http://articles.timesofindia.indiatimes.com/2013-08-22/trends/35347497_1_embroidery-jatin-varma-technique) on 2 February 2014 . Retrieved 12 January 2022 . ^ (#cite_ref-9) Bath, Virginia Churchill (1979). Needlework in America : history, designs, and techniques . New York: Viking Press. ISBN (/wiki/ISBN_(identifier)) 0-670-50575-7 . OCLC (/wiki/OCLC_(identifier)) 4957595 (https://www.worldcat.org/oclc/4957595) . ^ (#cite_ref-10) Gostelow, Mary (1983). Embroidery : traditional designs, techniques, and patterns from all over the world . New York: Arco Pub. ISBN (/wiki/ISBN_(identifier)) 0-668-05905-2 . OCLC (/wiki/OCLC_(identifier)) 9465951 (https://www.worldcat.org/oclc/9465951) . ^ (#cite_ref-11) Needlework : an illustrated history . Harriet Bridgeman, Elizabeth Drury. New York: Paddington Press. 1978. ISBN (/wiki/ISBN_(identifier)) 0-448-22066-0 . OCLC (/wiki/OCLC_(identifier)) 3843144 (https://www.worldcat.org/oclc/3843144) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: others ( link (/wiki/Category:CS1_maint:_others) ) ^ (#cite_ref-12) Walker, Carolyn (1987). The embroidery of Madeira . Kathy Holman (1st ed.). New York: Union Square Press. ISBN (/wiki/ISBN_(identifier)) 0-941817-00-8 . OCLC (/wiki/OCLC_(identifier)) 15317596 (https://www.worldcat.org/oclc/15317596) . ^ Jump up to: a b Richard Sorger; Jenny Udale (1 October 2006). The Fundamentals of Fashion Design . AVA Publishing. pp. 83–. ISBN (/wiki/ISBN_(identifier)) 978-2-940373-39-0 . External links [ edit ] Wikimedia Commons has media related to Cutwork (https://commons.wikimedia.org/wiki/Category:Cutwork) . Virtual Museum of Textile Arts (http://www.museocaprai.it/) v t e Embroidery (/wiki/Embroidery) Styles Assisi (/wiki/Assisi_embroidery) Bargello (/wiki/Bargello_(needlework)) Berlin work (/wiki/Berlin_wool_work) Blackwork (/wiki/Blackwork) Broderie anglaise (/wiki/Broderie_anglaise) Broderie perse (/wiki/Broderie_perse) Candlewicking (/wiki/Candlewicking) Counted-thread (/wiki/Counted-thread_embroidery) Crewel (/wiki/Crewel_embroidery) Cross-stitch (/wiki/Cross-stitch) Cutwork Darning (/wiki/Darning) Drawn thread work (/wiki/Drawn_thread_work) Goldwork (/wiki/Goldwork_(embroidery)) Hardanger (/wiki/Hardanger_embroidery) Hedebo (/wiki/Hedebo_embroidery) Machine (/wiki/Machine_embroidery) Needlepoint (/wiki/Needlepoint) Quillwork (/wiki/Quillwork) Smocking (/wiki/Smocking) Stumpwork (/wiki/Stumpwork) Surface (/wiki/Surface_embroidery) Suzani (/wiki/Suzani_(textile)) Whitework (/wiki/Whitework_embroidery) Stitches Backstitch (/wiki/Backstitch) Blanket (/wiki/Blanket_stitch) Box (/wiki/Box_stitch) Buttonhole (/wiki/Buttonhole_stitch) Chain stitch (/wiki/Chain_stitch) Couching and laid work (/wiki/Couching) Cross stitches (/wiki/Cross_stitches) Embroidery stitch (/wiki/Embroidery_stitch) Featherstitch (/wiki/Featherstitch) Holbein (/wiki/Holbein_stitch) Parisian (/wiki/Parisian_stitch) Running (/wiki/Running_stitch) Satin stitch (/wiki/Satin_stitch) Sashiko (/wiki/Sashiko_stitching) Shisha (/wiki/Shisha_(embroidery)) Straight stitch (/wiki/Straight_stitch) Tent stitch (/wiki/Tent_stitch) Tools and materials Aida cloth (/wiki/Aida_cloth) Embroidery hoop (/wiki/Embroidery_hoop) Embroidery thread (/wiki/Embroidery_thread) Evenweave (/wiki/Even-weave) Perforated paper (/wiki/Perforated_paper) Plainweave (/wiki/Plainweave) Plastic canvas (/wiki/Plastic_canvas) Sampler (/wiki/Sampler_(needlework)) Slip (/wiki/Slip_(needlework)) Yarn (/wiki/Yarn) Regional and historical Art needlework (/wiki/Art_needlework) Balochi (/wiki/Balochi_needlework) Brazilian (/wiki/Brazilian_embroidery) Bunka shishu (/wiki/Bunka_shishu) Burmese (/wiki/Kalaga) Chikan (/wiki/Chikan_(embroidery)) Chinese (/wiki/Chinese_embroidery) Cantonese (/wiki/Cantonese_embroidery) Sichuan (/wiki/Sichuan_embroidery) Suzhou (/wiki/Suzhou_embroidery) Xiang (/wiki/Xiang_embroidery) English (/wiki/English_embroidery) Indian (/wiki/Embroidery_of_India) Islamic (/wiki/Islamic_embroidery) Jacobean (/wiki/Jacobean_embroidery) Sashiko (/wiki/Sashiko) Kogin-zashi (/wiki/Kogin-zashi) Bunka shishu (/wiki/Bunka_shishu) Kaitag (/wiki/Kaitag_textiles) Kantha (/wiki/Kantha) Kasuti (/wiki/Kasuti) Korean (/wiki/Korean_embroidery) Macedonian (/wiki/Macedonian_embroidery) Mountmellick (/wiki/Mountmellick_embroidery) Nakshi kantha (/wiki/Nakshi_kantha) Persian (/wiki/Persian_embroidery) Rasht (/wiki/Rasht_embroidery) Sermeh (/wiki/Sermeh_embroidery) Sistan (/wiki/Sistan_embroidery) Zardozi (/wiki/Zardozi) Opus Anglicanum (/wiki/Opus_Anglicanum) Rushnyk (/wiki/Rushnyk) Sewed muslin (/wiki/Sewed_muslin) Ukrainian (/wiki/Ukrainian_embroidery) Vietnamese (/wiki/Vietnamese_embroidery) Vyshyvanka (/wiki/Vyshyvanka) Embroideries Butler-Bowden Cope (/wiki/Butler-Bowden_Cope) Bayeux Tapestry (/wiki/Bayeux_Tapestry) Bradford carpet (/wiki/Bradford_carpet) Great Tapestry of Scotland (/wiki/Great_Tapestry_of_Scotland) Great Tapestry of Scotland: People's Panel (/wiki/Great_Tapestry_of_Scotland:_People%27s_Panel) Hastings Embroidery (/wiki/Hastings_Embroidery) Hestia tapestry (/wiki/Hestia_Tapestry) Magna Carta (An Embroidery) (/wiki/Magna_Carta_(An_Embroidery)) Margaret Layton's jacket (/wiki/Margaret_Layton%27s_embroidered_jacket) New World Tapestry (/wiki/New_World_Tapestry) Overlord Embroidery (/wiki/Overlord_Embroidery) Oxburgh Hangings (/wiki/Oxburgh_Hangings) Prestonpans Tapestry (/wiki/Prestonpans_Tapestry) Quaker Tapestry (/wiki/Quaker_Tapestry) Scottish Diaspora Tapestry (/wiki/Scottish_Diaspora_Tapestry) Fragments of a Cope with the Seven Sacraments (/wiki/Fragments_of_a_Cope_with_the_Seven_Sacraments) Designers and embroiderers Emilie Bach (/wiki/Emilie_Bach) Leon Conrad (/wiki/Leon_Conrad) Shahin Ebrahimzadeh-Pezeshki (/wiki/Shahin_Ebrahimzadeh-Pezeshki) Kaffe Fassett (/wiki/Kaffe_Fassett) Juanita Growing Thunder Fogarty (/wiki/Juanita_Growing_Thunder_Fogarty) Constance Howard (/wiki/Constance_Howard_(artist)) Marilyn Leavitt-Imblum (/wiki/Marilyn_Leavitt-Imblum) François Lesage (/wiki/Fran%C3%A7ois_Lesage) Ann Macbeth (/wiki/Ann_Macbeth) May Morris (/wiki/May_Morris) Jessie Newbery (/wiki/Jessie_Newbery) Mahtab Norouzi (/wiki/Mahtab_Norouzi) Tetiana Protcheva (/wiki/Tetiana_Protcheva) Charles Germain de Saint Aubin (/wiki/Charles_Germain_de_Saint_Aubin) Mary Elizabeth Turner (/wiki/Mary_Elizabeth_Turner) Dimitri Vlachos - Castano (/wiki/Dimitri_Vlachos_-_Castano) Kathleen Whyte (/wiki/Kathleen_Whyte) Erica Wilson (/wiki/Erica_Wilson) Lily Yeats (/wiki/Lily_Yeats) Organizations and museums Embroiderers' Guild (UK) (/wiki/Embroiderers%27_Guild) Embroiderers' Guild of America (/wiki/Embroiderers%27_Guild_of_America) Embroidery Software Protection Coalition (/wiki/Embroidery_Software_Protection_Coalition) Needlework Development Scheme (/wiki/Needlework_Development_Scheme) Royal School of Needlework (/wiki/Royal_School_of_Needlework) Wemyss School of Needlework (/wiki/Wemyss_School_of_Needlework) Chung Young Yang Embroidery Museum (/wiki/Chung_Young_Yang_Embroidery_Museum) Han Sang Soo Embroidery Museum (/wiki/Han_Sang_Soo_Embroidery_Museum) Related Appliqué (/wiki/Appliqu%C3%A9) Crochet (/wiki/Crochet) Knitting (/wiki/Knitting) Lace (/wiki/Lace) Needlework (/wiki/Needlework) Quilting (/wiki/Quilting) v t e Lace (/wiki/Lace) types Needle lace (/wiki/Needle_lace) Filet lace (/wiki/Filet_lace) Punto in Aria (/wiki/Punto_in_Aria) Point de Venise (/wiki/Point_de_Venise) Point de France (/wiki/Point_de_France) Alençon (/wiki/Alen%C3%A7on_lace) Aemilia Ars (/w/index.php?title=Aemilia_Ars&action=edit&redlink=1) Argentan (/wiki/Argentan_lace) Argentella (/wiki/Argentella) Armenian (/wiki/Armenian_needlelace) Burano (https://it.wikipedia.org/wiki/Merletto%20di%20Burano) Halas lace (/wiki/Halas_lace) Hedebo embroidery (/wiki/Hedebo_embroidery) Hollie Point (/wiki/Hollie_Point) Nallıhan (/wiki/Nall%C4%B1han_silk_needlelace) Point de Gaze (/wiki/Point_de_Gaze) Kenmare Lace (/wiki/Kenmare_lace) Ñandutí (/wiki/%C3%91andut%C3%AD) Oya (/wiki/Oya_(lace)) Pag (/wiki/Pag_lace) Puncetto Valsesiano (/w/index.php?title=Puncetto_Valsesiano&action=edit&redlink=1) Tenerife (/wiki/Tenerife_lace) Youghal (/wiki/Youghal_lace) Embroidery (/wiki/Embroidery) Buratto (/wiki/Buratto) Filet lace (/wiki/Filet_lace) Reticella (/wiki/Reticella) Limerick (/wiki/Limerick_lace) Needlerun net (/wiki/Needlerun_net) Tambour (/wiki/Tambour_lace) Cutwork Broderie anglaise (/wiki/Broderie_anglaise) Carrickmacross (/wiki/Carrickmacross_lace) Lefkara lace (/wiki/Lefkara_lace) Saba lace (/wiki/Saba_lace) Bobbin lace (/wiki/Bobbin_lace) Mesh grounds (/wiki/Mesh_grounded_bobbin_lace) Torchon (/wiki/Torchon_lace) Freehand (/wiki/Freehand_lace) Arras (/wiki/Arras_lace) Bayeux (/wiki/Bayeux_lace) Beeralu (/w/index.php?title=Beeralu&action=edit&redlink=1) Blonde (/wiki/Blonde_lace) Bucks point (/wiki/Bucks_point_lace) Chantilly (/wiki/Chantilly_lace) Chefoo (/w/index.php?title=Chefoo_lace&action=edit&redlink=1) Cogne (/wiki/Cogne_lace) Tønder (/wiki/T%C3%B8nder_lace) Beveren (/wiki/Beveren_lace) Lille (/wiki/Lille_lace) Binche (/wiki/Binche_lace) Flanders (/wiki/Flanders_lace) Paris (/wiki/Paris_lace) Valenciennes (/wiki/Valenciennes_lace) Antwerp (/wiki/Antwerp_lace) Mechlin (/wiki/Mechlin_lace) Ipswich (/wiki/Ipswich_lace) 's Gravenmoer (/w/index.php?title=%27s_Gravenmoer_lace&action=edit&redlink=1) Mundillo (/wiki/Mundillo) Guipure (/wiki/Guipure) Greek (/wiki/Greek_lace) Genoese (/wiki/Genoese_lace) Bedfordshire (/wiki/Bedfordshire_lace) Cluny (/wiki/Cluny_lace) Dentelle du Puy (https://fr.wikipedia.org/wiki/Dentelle_du_Puy) Liptov (/wiki/Liptov) Maltese (/wiki/Maltese_lace) Yak lace (/wiki/Yak_lace) Part laces (/wiki/Part_lace) Honiton (/wiki/Honiton_lace) Bruges (/wiki/Bruges_lace) Brussels (/wiki/Brussels_lace) Rosaline (/wiki/Rosaline_lace) Point d'Angleterre (/wiki/Brussels_lace#Point_d'Angleterre) Tape (/wiki/Bobbin_tape_lace) Cantù (/w/index.php?title=Cant%C3%B9_lace&action=edit&redlink=1) Milanese (/wiki/Milanese_bobbin_lace) Hinojosa (/w/index.php?title=Hinojosa_lace&action=edit&redlink=1) Russian (/wiki/Russian_lace) Idrija (/wiki/Idrija_lace) Schneeberg (/wiki/Schneeberg_lace) Peasant (/w/index.php?title=Peasant_lace&action=edit&redlink=1) Tape lace (/wiki/Tape_lace) Mezzopunto (/w/index.php?title=Mezzopunto&action=edit&redlink=1) Princess (/wiki/Princess_lace) Renaissance (/wiki/Renaissance_lace) Battenberg (/wiki/Battenberg_lace) Romanian point (/wiki/Romanian_point_lace) Branscombe (/wiki/Branscombe_lace) Crocheted lace (/wiki/Crocheted_lace) Broomstick lace (/wiki/Broomstick_lace) Irish crochet (/wiki/Irish_lace) Hairpin (/wiki/Hairpin_lace) Filet crochet (/wiki/Filet_crochet) Orvieto lace (/w/index.php?title=Orvieto_lace&action=edit&redlink=1) Machine (/wiki/Lace_machine) -made lace Bobbinet (/wiki/Bobbinet) Leavers (/wiki/Leavers_machine) Pusher (/wiki/Pusher_machine) Barmen (/wiki/Barmen_lace_machine) Curtain Machine (/wiki/Nottingham_lace_curtain_machine) Chemical (/wiki/Chemical_lace) Raschel (/wiki/Warp_knitting) Stocking Frame (/wiki/Stocking_frame) Warp Knit (/wiki/Warp_knitting) Other handmade laces Metal laces (/wiki/Metal_lace) Lace knitting (/wiki/Lace_knitting) Macramé (/wiki/Macram%C3%A9) Tatting (/wiki/Tatting) Punto a groppo (/wiki/Punto_a_groppo) Sprang (/wiki/Sprang) Liturgical lace (/wiki/Liturgical_lace) Media related to Lace (https://commons.wikimedia.org/wiki/Category:Lace) at Wikimedia Commons Fashion portal (/wiki/Portal:Fashion) Clothing portal 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American clothing company Hanesbrands Inc. Company type Public company (/wiki/Public_company) Traded as (/wiki/Ticker_symbol) NYSE (/wiki/New_York_Stock_Exchange) : HBI (https://www.nyse.com/quote/XNYS:HBI) S&P 600 (/wiki/S%26P_600) component Founded 1901 ; 123 years ago ( 1901 ) Founder John Wesley Hanes (/wiki/John_Wesley_Hanes_I) – Shamrock Mills, Pleasant H. Hanes (/w/index.php?title=Pleasant_H._Hanes&action=edit&redlink=1) – P. H. Hanes Knitting Company Headquarters Winston-Salem, North Carolina (/wiki/Winston-Salem,_North_Carolina) , U.S. Number of locations 252 outlet stores (2015) Key people Stephen B. Bratspies ( CEO (/wiki/CEO) ) [1] (#cite_note-1) [2] (#cite_note-2) Scott Lewis ( CFO (/wiki/CFO) ) [3] (#cite_note-3) [4] (#cite_note-4) Brands Hanes (/wiki/Hanes) Champion (/wiki/Champion_(sportswear)) Playtex (/wiki/Playtex) Bali (/wiki/Bali_(lingerie)) L'eggs (/wiki/L%27eggs) Just My Size Barely There Wonderbra (/wiki/Wonderbra) Maidenform (/wiki/Maidenform) Berlei (/wiki/Berlei) Bonds (/wiki/Bonds_(clothing)) Revenue US$ (/wiki/United_States_dollar) 7.0 billion (2019) [5] (#cite_note-yahoo.com-5) Operating income (/wiki/Earnings_before_interest_and_taxes) US$889.7 million (2019) [5] (#cite_note-yahoo.com-5) Net income (/wiki/Net_income) US$600.7 million (2019) [5] (#cite_note-yahoo.com-5) Total assets (/wiki/Asset) US$7.4 billion (2019) [5] (#cite_note-yahoo.com-5) Total equity (/wiki/Equity_(finance)) US$1.2 billion (2019) [5] (#cite_note-yahoo.com-5) Number of employees 61,000 (January 2, 2021) Website www (https://www.hanes.com/corporate) .hanes (https://www.hanes.com/corporate) .com (https://www.hanes.com/corporate) /corporate (https://www.hanes.com/corporate) Hanesbrands Inc. is an American multinational (/wiki/Multinational_corporation) clothing company based in Winston-Salem, North Carolina (/wiki/Winston-Salem,_North_Carolina) . [6] (#cite_note-6) It employs 65,300 people internationally. [7] (#cite_note-7) On September 6, 2006, the company and several brands were spun off by the Sara Lee Corporation (/wiki/Sara_Lee_Corporation) . Hanesbrands owns several clothing brands, including Hanes (/wiki/Hanes) , Champion (/wiki/Champion_(sportswear)) , Playtex (/wiki/Playtex) , Bali (/wiki/Bali_(lingerie)) , L'eggs (/wiki/L%27eggs) , Just My Size, Barely There, Wonderbra (/wiki/Wonderbra) , Maidenform (/wiki/Maidenform) , Berlei (/wiki/Berlei) , and Bonds (/wiki/Bonds_(clothing)) . History [ edit ] The original Hanes outlet store was housed in a room adjacent to their factory. Hanesbrands currently operates and owns around 220 Hanesbrands, Maidenform and Champion retail stores across the US. [8] (#cite_note-8) The company's flagship store is located in Winston-Salem, North Carolina and opened in summer 2008. Stores range in size from 2,500 to 17,000 square feet Hanesbrands has companies in various parts of Europe (/wiki/Europe) and Eastern Europe (/wiki/Eastern_Europe) , including the United Kingdom (/wiki/United_Kingdom) , Italy (/wiki/Italy) , Germany (/wiki/Germany) , France (/wiki/France) and Spain (/wiki/Spain) . Sales revenue for 2010 was $4.33 billion and gross profit was $1.41 billion. [9] (#cite_note-9) In 2011, WikiLeaks (/wiki/WikiLeaks) revealed that the corporation had previously lobbied the State Department (/wiki/State_Department) to prevent the raise of Haiti (/wiki/Haiti) 's minimum-wage to $0.61 an hour from $0.31 an hour. [10] (#cite_note-10) On July 24, 2013, Hanesbrands agreed to acquire Maidenform (/wiki/Maidenform) for $575 million. [11] (#cite_note-11) [12] (#cite_note-12) On July 15, 2016, Hanes acquired the Australian-based clothing and underwear and clothing company Pacific Brands (/wiki/Pacific_Brands) [13] (#cite_note-13) In October 2017, Hanes announced a $60 million acquisition of Norcross, GA based Alternative Apparel. [14] (#cite_note-14) In 2018, the company opened its first brick-and-mortar Champion brand retail store in Los Angeles. [15] (#cite_note-15) Currently there are 20 Champion stores open. [16] (#cite_note-16) Hanesbrands also has companies in United Kingdom (/wiki/United_Kingdom) , Italy (/wiki/Italy) , Germany (/wiki/Germany) , France (/wiki/France) and Spain (/wiki/Spain) . In November 2019, Chief Financial Officer Barry Hytinen left the company for a position at the storage and information management services company Iron Mountain (/wiki/Iron_Mountain_(company)) . [17] (#cite_note-17) Hanesbrands made a statement in April 2021 that Michael Dastugue will be assuming the role of chief financial officer on May 1. The company has not had a permanent CFO since the departure of Barry Hytinen in 2019, with chief accounting officer Scott Lewis serving as the interim CFO since January 2020. Mr. Dastugue, according to analyst David Swartz of Morningstar Research Services, will be leading the company in adapting to a growing customer preference for online shopping. [18] (#cite_note-18) [19] (#cite_note-19) [20] (#cite_note-20) In June 2024, Hanesbrands announced plans to sell the Champion brand to Authentic Brands (/wiki/Authentic_Brands_Group) for $1.2 billion. [21] (#cite_note-21) Partnerships [ edit ] This section needs expansion . You can help by adding to it (https://en.wikipedia.org/w/index.php?title=Hanesbrands&action=edit§ion=) . ( April 2024 ) As a collegiate fan apparel supplier, Hanesbrands has partnered with several Universities including Duke University, Florida State, University of Michigan, Auburn University, and Penn State among others. [22] (#cite_note-22) In April 2024, Hanesbrands extended their partnership with Duke for a further 5 years [23] (#cite_note-23) [24] (#cite_note-24) and in May 2024, the brand announced a five-year extension of its current partnership with TCU, one of more than two dozen elite schools that have special retail partnerships with Hanesbrands. [25] (#cite_note-25) Company Culture [ edit ] This section needs expansion . You can help by adding to it (https://en.wikipedia.org/w/index.php?title=Hanesbrands&action=edit§ion=) . ( April 2024 ) Controversy [ edit ] May 2022 ransomware attack [ edit ] Two separate legal actions were filed in February 2023 regarding a ransomware attack in May 2022. The legal actions were combined in North Carolina on behalf of 75,000 staff members. The lawsuits claimed that the ransomware breach exposed both present and past employees to the risk of identity theft, and asserted that the company lacked sufficient safety protocols in place. Hanesbrands offered a settlement in April 2024. [26] (#cite_note-26) 2024 Worker Rights Consortium Report [ edit ] Hanesbrands and Gildan Activewear were implicated in a Worker Rights Consortium (WRC) report in March 2024 for failing to pay wages to employees at a Central American factory. The report highlights that Central American garment workers, who manufactured products for these companies, were illegally deprived of $2 million in compensation since the factory closed two years ago. According to the report, 831 workers at the APS factory in Ilopango, El Salvador, were unlawfully denied back wages, severance, and other benefits following the facility's closure, as confirmed by the Salvadoran Ministry of Labor. [27] (#cite_note-27) See also [ edit ] United States portal (/wiki/Portal:United_States) Companies portal (/wiki/Portal:Companies) Fashion portal (/wiki/Portal:Fashion) Fruit of the Loom (/wiki/Fruit_of_the_Loom) Jockey International (/wiki/Jockey_International) References [ edit ] ^ (#cite_ref-1) "Board of Directors | Hanesbrands Inc" (https://ir.hanesbrands.com/corporate-governance/board-of-directors/) . ir.hanesbrands.com . ^ (#cite_ref-2) "HanesBrands Board of Directors Appoints Stephen B. Bratspies as Chief Executive Officer, Effective Aug. 3, 2020" (https://www.businesswire.com/news/home/20200609005381/en/HanesBrands-Board-of-Directors-Appoints-Stephen-B.-Bratspies-as-Chief-Executive-Officer-Effective-Aug.-3-2020) . www.businesswire.com . June 9, 2020. ^ (#cite_ref-3) Hardison, Kathryn (12 January 2023). "Hanesbrands CFO Michael Dastugue Resigns; Scott Lewis Named Interim CFO" (https://www.wsj.com/articles/hanesbrands-cfo-michael-dastugue-resigns-scott-lewis-named-interim-cfo-11673560356) . Wall Street Journal . ^ (#cite_ref-4) "HanesBrands Updates Fourth Quarter 2022 Financial Outlook; Announces Departure of Chief Financial Officer Michael Dastugue and Refinancing Plans" (https://www.businesswire.com/news/home/20230112005807/en/HanesBrands-Updates-Fourth-Quarter-2022-Financial-Outlook-Announces-Departure-of-Chief-Financial-Officer-Michael-Dastugue-and-Refinancing-Plans) . www.businesswire.com . 12 January 2023. ^ Jump up to: a b c d e "HBI Income Statement — Hanesbrands Inc. Stock — Yahoo Finance" (https://finance.yahoo.com/quote/HBI/financials?p=HBI) . finance.yahoo.com . Retrieved 15 June 2020 . ^ (#cite_ref-6) " Contact us (http://www.hanesbrands.com/hbi/templates/ContactUs/Default.aspx) ". Hanesbrands. Retrieved on October 26, 2010. "Hanesbrands Inc. 1000 East Hanes Mill Road Winston Salem, NC 27105 United States." ^ (#cite_ref-7) "Hanesbrands Inc. :: Our Company" (https://web.archive.org/web/20061128010333/http://www.hanesbrands.com/hbi/en-us/OurCompany/Default.htm) . www.hanesbrands.com . Archived from the original (http://www.hanesbrands.com/hbi/en-us/OurCompany/Default.htm) on November 28, 2006. ^ (#cite_ref-8) "Hanesbrands Outlets Website" (https://outlets.onehanesplace.com/) . Hanesbrands Outlets Website . Hanesbrands . Retrieved 3 December 2022 . ^ (#cite_ref-9) According to 2010 Form 10-k. ^ (#cite_ref-10) Johnson. "WIKILEAKS: U.S. Fought To Lower Minimum Wage In Haiti So Hanes And Levis Would Stay Cheap" (http://www.businessinsider.com/wikileaks-haiti-minimum-wage-the-nation-2011-6) . Business Insider. ^ (#cite_ref-11) "Hanes to Buy Maidenform for $575 Million" (https://dealbook.nytimes.com/2013/07/24/hanes-to-buy-maidenform-for-575-million/) . The New York Times . July 24, 2013 . Retrieved July 25, 2013 . ^ (#cite_ref-12) "Hanes to Buy Maidenform for $575 Million" (https://www.wsj.com/articles/SB10001424127887323610704578625452582620188) . The Wall Street Journal . July 24, 2013 . Retrieved July 25, 2013 . ^ (#cite_ref-13) "HanesBrands Completes Acquisition of Pacific Brands Limited" (http://www.businesswire.com/news/home/20160715005150/en/HanesBrands-Completes-Acquisition-Pacific-Brands-Limited) . Company announcement . 28 April 2016. ^ (#cite_ref-14) "Hanesbrands acquires Georgia apparel firm for $60M" (https://www.bizjournals.com/triad/news/2017/10/18/hanesbrands-acquiresgeorgia-apparel-firm-for-60m.html) . www.bizjournals.com . Retrieved 2020-06-08 . ^ (#cite_ref-15) Whittington, Lloyd (2018-04-09). "Hanebrands' Champion opens first U.S. retail store (PHOTOS)" (https://www.bizjournals.com/triad/news/2018/04/09/hanebrands-champion-opens-first-u-s-retail-store.html) . www.bizjournals.com . Retrieved 2020-01-17 . ^ (#cite_ref-16) "Champion Stores Listing" (https://web.archive.org/web/20110421084529/http://www.championusa.com/Champion/Service/contentviewer.aspx?ID=StoreListing) . ChampionUSA. Archived from the original (http://www.championusa.com/Champion/Service/contentviewer.aspx?ID=StoreListing) on 2011-04-21 . Retrieved 2013-07-25 . ^ (#cite_ref-17) Warfield, Andy (2019-11-26). "Triad apparel company CFO resigns to take job with Boston company" (https://www.bizjournals.com/triad/news/2019/11/26/triad-apparel-company-cfo-resigns-to-take-job-with.html) . www.bizjournals.com . Retrieved 2020-01-17 . ^ (#cite_ref-18) Broughton, Kristin (2021-04-29). "HanesBrands Names New CFO as Pandemic, E-Commerce Weigh on Its Business" (https://www.wsj.com/articles/hanesbrands-names-new-cfo-as-pandemic-e-commerce-weigh-on-its-business-11619727439) . Wall Street Journal . ISSN (/wiki/ISSN_(identifier)) 0099-9660 (https://www.worldcat.org/issn/0099-9660) . Retrieved 2021-04-30 . ^ (#cite_ref-19) Singh, Prachi (2021-04-29). "Michael Dastugue to join HanesBrands as CFO" (https://fashionunited.uk/news/people/michael-dastugue-to-join-hanesbrands-as-cfo/2021042955228) . FashionUnited . Retrieved 2021-04-30 . ^ (#cite_ref-20) "HanesBrands Names Michael Dastugue Chief Financial Officer" (https://finance.yahoo.com/news/hanesbrands-names-michael-dastugue-chief-124500060.html) . finance.yahoo.com . Retrieved 2021-04-30 . ^ (#cite_ref-21) Conlon, Sean (2024-06-05). "Hanesbrands to sell Champion brand to Authentic Brands in $1.2 billion deal" (https://www.cnbc.com/2024/06/05/hanesbrands-to-sell-champion-brand-to-authentic-brands-in-1point2-billion-deal.html) . CNBC . Retrieved 2024-06-05 . ^ (#cite_ref-22) Ducouer, Nicole (2024-04-09). "HanesBrands and Duke University Extend Long-term Apparel Partnership" (https://www.businesswire.com/news/home/20240409834201/en/HanesBrands-and-Duke-University-Extend-Long-term-Apparel-Partnership) . www.businesswire.com . Retrieved 2024-04-11 . ^ (#cite_ref-23) "HanesBrands Inc. Extends Mass Channel Apparel Partnership with Duke | SGB Media Online" (https://sgbonline.com/hanesbrands-extend-apparel-partnership-with-duke-another-five-years/) . sgbonline.com . 9 April 2024 . Retrieved 2024-04-11 . ^ (#cite_ref-24) Reporter, RICHARD CRAVER Staff (2024-04-09). "HanesBrands signs five-year fanwear apparel extension with Duke" (https://journalnow.com/news/local/business/hanesbrands-signs-five-year-fanwear-apparel-extension-with-duke/article_04c282c4-f674-11ee-abf8-af7c7c73b8a2.html) . Winston-Salem Journal . Retrieved 2024-04-11 . ^ (#cite_ref-25) "HANESBRANDS AND TCU EXTEND LONG-TERM APPAREL PARTNERSHIP" (https://newsroom.hanesbrands.com/newsreleases/news-details/2024/HanesBrands-and-TCU-Extend-Long-Term-Apparel-Partnership/default.aspx) . Newsroom HanesBrands . ^ (#cite_ref-26) Reporter, RICHARD CRAVER Staff (2024-04-09). "HanesBrands offers settlement to employees affected by ransomware attack. Employees will have option of credit monitoring, $50 store credit or $35 cash payment" (https://journalnow.com/news/local/business/hanesbrands-offers-settlement-to-employees-affected-by-ransomware-attack-employees-will-have-option-of-credit/article_94425946-f5c6-11ee-8aae-dba31e00da07.html) . Winston-Salem Journal . Retrieved 2024-04-11 . ^ (#cite_ref-27) Nishimura, Kate (2024-03-21). "Hanesbrands Named in WRC Report for Nonpayment of Worker Wages at Central American Factory" (https://www.yahoo.com/lifestyle/hanesbrands-named-wrc-report-nonpayment-200045716.html) . Yahoo Life . Retrieved 2024-04-11 . Further reading [ edit ] Augstums, Ieva (2006-12-26). "Pantyhose makers suffering sales snag" (https://www.thestar.com/Business/article/164552) . Toronto Star (/wiki/Toronto_Star) . Retrieved 2007-01-03 . advertiser [ edit ] External links [ edit ] Official site (https://www.hanes.com/corporate) Business data for Hanesbrands: Google (https://www.google.com/finance/quote/HBI) SEC filings (https://www.sec.gov/cgi-bin/browse-edgar?action=getcompany&CIK=HBI) Yahoo! 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Type of journalism Journalism (/wiki/Journalism) News (/wiki/News) Writing style (/wiki/News_style) Ethics (/wiki/Journalism_ethics_and_standards) code of ethics (/wiki/Code_of_ethics_in_media) Culture (/wiki/Journalism_culture) Objectivity (/wiki/Journalistic_objectivity) News values (/wiki/News_values) Attribution (/wiki/Source_(journalism)) Defamation (/wiki/Defamation) Sensationalism (/wiki/Sensationalism) Editorial independence (/wiki/Editorial_independence) Journalism school (/wiki/Journalism_school) Index of journalism articles (/wiki/Index_of_journalism_articles) Areas Arts (/wiki/Arts_journalism) Business (/wiki/Business_journalism) Data (/wiki/Data_journalism) Entertainment (/wiki/Entertainment_journalism) Environment (/wiki/Environmental_journalism) Fashion Medicine (/wiki/Medical_journalism) Music (/wiki/Music_journalism) Politics (/wiki/Political_journalism) Science (/wiki/Science_journalism) Sports (/wiki/Sports_journalism) Technology (/wiki/Technology_journalism) Traffic (/wiki/Traffic_reporting) War (/wiki/War_correspondent) Weather (/wiki/Weather_forecasting) World (/wiki/World_news) Genres Adversarial (/wiki/Adversarial_journalism) Advocacy (/wiki/Advocacy_journalism) Interventionism (/wiki/Journalistic_interventionism) Analytic (/wiki/Analytic_journalism) Blogging (/wiki/Blog) Broadcast (/wiki/Broadcast_journalism) Churnalism (/wiki/Churnalism) Citizen (/wiki/Citizen_journalism) Civic (/wiki/Civic_journalism) Collaborative (/wiki/Collaborative_journalism) Comics-based (/wiki/Comics_journalism) Community (/wiki/Community_journalism) Data (/wiki/Data_journalism) Database (/wiki/Database_journalism) Digital/Online (/wiki/Digital_journalism) Explanatory (/wiki/Explanatory_journalism) Fact-checking (/wiki/Fact-checking) Gonzo (/wiki/Gonzo_journalism) Immersion (/wiki/Immersion_journalism) Interpretive (/wiki/Interpretive_journalism) Investigative (/wiki/Investigative_journalism) Multimedia (/wiki/Multimedia_journalism) Narrative (/wiki/Narrative_journalism) New Journalism (/wiki/New_Journalism) Non-profit (/wiki/Non-profit_journalism) Opinion (/wiki/Opinion_journalism) Peace (/wiki/Peace_journalism) Photojournalism (/wiki/Photojournalism) Press release (/wiki/Press_release) Sensor (/wiki/Sensor_journalism) Underground (/wiki/Underground_press) Video (/wiki/Video_journalism) Visual (/wiki/Visual_journalism) Watchdog (/wiki/Watchdog_journalism) Social impact Fake news (/wiki/Fake_news) Fourth Estate (/wiki/Fourth_Estate) Fifth Estate (/wiki/Fifth_Estate) Freedom of the press (/wiki/Freedom_of_the_press) Infotainment (/wiki/Infotainment) Media bias (/wiki/Media_bias) Pink-slime journalism (/wiki/Pink-slime_journalism) Public relations (/wiki/Public_relations) Propaganda model (/wiki/Propaganda_model) Yellow journalism (/wiki/Yellow_journalism) News media (/wiki/News_media) Newspapers (/wiki/Newspaper) Newspaper of record (/wiki/Newspaper_of_record) Magazines (/wiki/Magazine) TV and radio (/wiki/News_broadcasting) Internet (/wiki/Online_newspaper) News agencies (/wiki/News_agency) Alternative media (/wiki/Alternative_media) Roles Journalists (reporters) (/wiki/Journalist) Columnist (/wiki/Columnist) Blogger (/wiki/Blog) Editor (/wiki/Editing) Copy editor (/wiki/Copy_editing) Meteorologist (/wiki/Meteorologist) News presenter (/wiki/News_presenter) Photographer (/wiki/Photojournalism) Pundit / commentator (/wiki/Pundit) Journalism portal (/wiki/Portal:Journalism) Category: Journalism (/wiki/Category:Journalism) v t e Fashion journalism is a component of fashion (/wiki/Fashion) media, with a focus on writing (/wiki/Journalism) and photojournalism (/wiki/Photojournalism) . Fashion journalists write about and critique fashion events and trends as well as cultivate and maintain relationships with stylists and designers. Fashion journalists are either employed full-time by a publication (/wiki/Lifestyle_magazine) , or they submit articles on a freelance basis. [1] (#cite_note-1) Fashion photography (/wiki/Fashion_photography) , which supplanted fashion illustration (/wiki/Fashion_illustration) in the 1900s, is a type of photojournalism used in fashion journalism. The Internet has given rise to a number of outlets for amateur fashion journalism, such as blogs (/wiki/Blog) and vlogs (/wiki/Vlog) . History [ edit ] An example of a fashion plate (1844) Fashion journalism developed during the 18th century, when the fashion dolls (/wiki/Fashion_doll) – dolls designed to display relevant fashion ensembles – were replaced by fashion magazines (/wiki/Fashion_magazine) , notably the Cabinet des Modes (/wiki/Cabinet_des_Modes) , which is recognized to be the first true fashion magazine. [2] (#cite_note-2) This Partisan publication had illustrated fashion plates that "...fed the increasing appetite for French fashion, which was growing in tandem with the expanding urban population's desire to separate itself from the way of life plotted out and decreed by the French Court". [3] (#cite_note-3) It was followed abroad by Journal des Luxus und der Moden (/wiki/Journal_des_Luxus_und_der_Moden) (1786–1827) in Germany, Giornale delle Dame e delle Mode di Francia (/wiki/Giornale_delle_Dame_e_delle_Mode_di_Francia) (1786–1794) in Milan, and Gallery of Fashion (/wiki/Gallery_of_Fashion) (1794–1803) in Britain. [4] (#cite_note-4) During the 19th century, numerous fashion magazines were published, employing fashion journalists reporting on the latest trends from Paris. Among the earliest in Great Britain were Ann Margaret Lanchester (/wiki/Ann_Margaret_Lanchester) , who published her own fashion paper, the Le Miroir de la Mode , and Mary Ann Bell (/wiki/Mary_Ann_Bell) , writing for the La Belle Assemblée (/wiki/La_Belle_Assembl%C3%A9e) in the early 19th-century. [5] (#cite_note-5) A 21st century fashion magazine cover Fashion magazines of the 20th century include Elle (/wiki/Elle_(magazine)) and Vogue (/wiki/Vogue_(magazine)) . Digital fashion journalism [ edit ] Further information: Digital journalism (/wiki/Digital_journalism) As society increases its dependence on the internet, the journalism industry is becoming far more fluid. Print, being more costly and less convenient, many publications (such as Nylon magazine) have opted to focus on a digital publication (/wiki/Digital_media) . Digital journalism gives the writer unlimited space (rather than forcing an article to fit in a magazine or newspaper layout), allows for links to external resources, and a number of images. Another major advantage of digital media is real-time updates/corrections to misinformation. Major fashion magazines such as Vogue (/wiki/Vogue_(magazine)) , Elle (/wiki/Elle_(magazine)) , Marie Claire (/wiki/Marie_Claire) , Cosmopolitan (/wiki/Cosmopolitan_(magazine)) , and Paper Magazine (/wiki/Paper_(magazine)) have altered their business models due to the onset of the digital age, creating an online component in addition to print. Social media has also contributed to the rise in these digital magazine platforms, allowing them to be far more interactive than they have been in the past. Amateur fashion journalism [ edit ] The Internet has given rise to a number of outlets for amateur fashion journalism, such as blogs (/wiki/Blog) and vlogs (/wiki/Vlog) . Education [ edit ] Journalism is a general liberal arts major that can be studied at many universities. A concentration in fashion journalism is specific to a number of fashion schools. Generally, a fashion journalist needs at least a BA in fields such as journalism, communications, fashion or other related areas. A strong portfolio and experience in reporting on fashion is key to being hired as a fashion journalist post-grad. [6] (#cite_note-6) Notable fashion journalists [ edit ] Vanessa Friedman (/wiki/Vanessa_Friedman) is the chief fashion director and fashion critic for The New York Times . Before joining the team at the Times , Friedman was the first fashion editor at the Financial Times , alongside her job editing the pages of Luxury360 vertical. Previously, she was the features editor for InStyle UK . She was the 2012 recipient of the Front Page Award for fashion writing and the 2013 Fashion Monitor Journalist of the Year award. Robin Givhan (/wiki/Robin_Givhan) is the first and only fashion journalist to win The Pulitzer Prize for Criticism as of 2006. She drew attention to her work after criticizing former US Vice President Dick Cheney for wearing casual attire (a ski cap and parka) to a ceremony commemorating the 60th anniversary of the liberation of Auschwitz. In this piece, Givhan stressed the importance of how political leaders choose to present themselves. [7] (#cite_note-7) Cathy Horyn (/wiki/Cathy_Horyn) is the critic-at-large for New York Magazine's The Cut since 2015, having spent 15 years as the former chief critic of The New York Times (/wiki/The_New_York_Times) with roles at The Washington Post (/wiki/The_Washington_Post) and Vanity Fair. [8] (#cite_note-8) In 2001, she was awarded the Eugenia Sheppard Award for fashion writing by the Council of Fashion Designers of America (/wiki/Council_of_Fashion_Designers_of_America) . [9] (#cite_note-9) Sarah Mower MBE is a chief critic and columnist for American Vogue (/wiki/Vogue_(magazine)) . She is also an advocate for young designers as the Ambassador for Emerging talent at the British Fashion Council (/wiki/British_Fashion_Council) since 2009. Mower received the MBE in 2011 in recognition of her contributions to fashion. [10] (#cite_note-10) Suzy Menkes (/wiki/Suzy_Menkes) OBE is a veteran fashion journalist who was most recently the Editor of Vogue International, departing in October 2020. [11] (#cite_note-11) She also helmed The New York Times International Edition (/wiki/The_New_York_Times_International_Edition) back when it was the International Herald Tribune (/wiki/International_Herald_Tribune) as its fashion critic for 25 years, ultimately departing for Condé Nast (/wiki/Cond%C3%A9_Nast) International in 2014. [12] (#cite_note-12) She now produces a podcast "Creative Conversations With Suzy Menkes" and contributes to Air Mail, a mobile-first digital weekly created by Graydon Carter (/wiki/Graydon_Carter) . [13] (#cite_note-13) See also [ edit ] Fashion editor (/wiki/Fashion_editor) Fashion photography (/wiki/Fashion_photography) List of fashion magazines (/wiki/List_of_fashion_magazines) References [ edit ] ^ (#cite_ref-1) "Fashion Journalism - What is Fashion Journalism and Fashion Media?" (https://www.limcollege.edu/academics/what-is-fashion-journalism-and-media) . LIM . 2018-04-18 . Retrieved 2019-09-07 . ^ (#cite_ref-2) Koning, Georgette, and Els Verhaak. New for Now: the Origin of Fashion Magazines. Translated by Lynne Richards. Amsterdam: Rijksmuseum, 2015 ^ (#cite_ref-3) Yanofsky, Anna (January 2018). "The History of Fashion Journalism". Fashion, Style, & Popular Culture (book review). 5 (1): 136–139. doi (/wiki/Doi_(identifier)) : 10.1386/fspc.5.1.129_5 (https://doi.org/10.1386%2Ffspc.5.1.129_5) . ISSN (/wiki/ISSN_(identifier)) 2050-0726 (https://www.worldcat.org/issn/2050-0726) . ^ (#cite_ref-4) Best, Kate Nelson (2017). "A Symbiotic Relationship: The Origins of the Modern Fashion Press". The History of Fashion Journalism . Bloomsbury Publishing. pp. 23, 25. ISBN (/wiki/ISBN_(identifier)) 978-1-8478-8656-9 . LCCN (/wiki/LCCN_(identifier)) 2016025282 (https://lccn.loc.gov/2016025282) . ^ (#cite_ref-5) Ashelford, Jane (1996). The Art of Dress: Clothes and Society 1500–1914 . National Trust. ISBN (/wiki/ISBN_(identifier)) 978-1905400799 . LCCN (/wiki/LCCN_(identifier)) 95044103 (https://lccn.loc.gov/95044103) . ^ (#cite_ref-6) "How to Become a Fashion Journalist: Education and Career Roadmap" (https://study.com/articles/How_to_Become_a_Fashion_Journalist_Education_and_Career_Roadmap.html) . Study.com . ^ (#cite_ref-7) "Robin Givhan is part of the BoF 500" (https://www.businessoffashion.com/community/people/robin-givhan) . The Business of Fashion . ^ (#cite_ref-8) "BoF Exclusive | Cathy Horyn: 'You Just Have to Say What You Think' (https://www.businessoffashion.com/articles/news-analysis/bof-exclusive-cathy-horyn-system) " (https://www.businessoffashion.com/articles/news-analysis/bof-exclusive-cathy-horyn-system) . The Business of Fashion . 2015-04-30 . Retrieved 2021-01-24 . ^ (#cite_ref-9) "Cathy Horyn is part of the BoF 500" (https://www.businessoffashion.com/community/people/cathy-horyn) . The Business of Fashion . Retrieved 2021-01-24 . ^ (#cite_ref-10) "Sarah Mower is part of the BoF 500" (https://www.businessoffashion.com/community/people/sarah-mower) . The Business of Fashion . Retrieved 2021-01-24 . ^ (#cite_ref-11) "Suzy Menkes Exits Vogue International" (https://www.businessoffashion.com/articles/media/suzy-menkes-stepping-down-vogue-international) . The Business of Fashion . 2020-07-01 . Retrieved 2021-01-26 . ^ (#cite_ref-12) "Suzy Menkes to Become International Vogue Editor [Updated]" (https://www.thecut.com/2014/03/suzy-menkes-to-become-international-vogue-editor.html) . The Cut . Retrieved 2021-01-26 . ^ (#cite_ref-13) Conti, Samantha (2020-12-29). "Media People: Moving On With Suzy Menkes" (https://wwd.com/business-news/media/media-people-moving-on-suzy-menkes-1234683214/) . WWD . Retrieved 2021-01-26 . Further reading [ edit ] Miller, Sanda; McNeil, Peter (2018). Fashion Journalism: History, Theory, and Practice (1st ed.). Bloomsbury Publishing (/wiki/Bloomsbury_Publishing) . ISBN (/wiki/ISBN_(identifier)) 978-1472520173 . v t e Fashion (/wiki/Fashion) articles Index of fashion articles (/wiki/Index_of_fashion_articles) General Environmental impact of fashion (/wiki/Environmental_impact_of_fashion) Fashion accessory (/wiki/Fashion_accessory) Fashion design (/wiki/Fashion_design) Fashion design copyright (/wiki/Fashion_design_copyright) Fashion matrix (/wiki/Fashion_matrix) Fashion museum (/wiki/Fashion_museum) Fashion plate (/wiki/Fashion_plate) Fashion tourism (/wiki/Fashion_tourism) Semiotics of fashion (/wiki/Semiotics_of_fashion) History (/wiki/History_of_fashion_design) History of clothing and textiles (/wiki/History_of_clothing_and_textiles) History of Western fashion (/wiki/History_of_Western_fashion) History of fashion design (/wiki/History_of_fashion_design) Timeline of clothing and textiles technology (/wiki/Timeline_of_clothing_and_textiles_technology) 19th century (/wiki/19th_century_in_fashion) 21st century (/wiki/21st_century_in_fashion) Events (/wiki/List_of_fashion_events) Fashion show (/wiki/Fashion_show) Fashion week (/wiki/Fashion_week) Industry (/wiki/Fashion_industry) Awards (/wiki/Category:Fashion_awards) Clothing industry (/wiki/Clothing_industry) Designer clothing (/wiki/Designer_clothing) Digital fashion (/wiki/Digital_fashion) Fashion blog (/wiki/Fashion_blog) Fashion capital (/wiki/Fashion_capital) Fashion entrepreneur (/wiki/Fashion_entrepreneur) Fashion editor (/wiki/Fashion_editor) Fashion forecasting (/wiki/Fashion_forecasting) Fashion illustration (/wiki/Fashion_illustration) Fashion influencer (/wiki/Fashion_influencer) Fashion journalism Fashion law (/wiki/Fashion_law) Fashion photography (/wiki/Fashion_photography) Fashion merchandising (/wiki/Fashion_merchandising) Fast fashion (/wiki/Fast_fashion) in China (/wiki/Fast_fashion_in_China) Red carpet fashion (/wiki/Red_carpet_fashion) Social media in the fashion industry (/wiki/Social_media_in_the_fashion_industry) Sweatshop (/wiki/Sweatshop) Trickle-up fashion (/wiki/Trickle-up_fashion) Traditional clothing Ceremonial (/wiki/Ceremonial_dress) Court (/wiki/Court_dress) Diplomatic (/wiki/Diplomatic_uniform) Academic (/wiki/Academic_dress) Military (/wiki/Military_uniform) Full (/wiki/Full_dress_uniform) Mess (/wiki/Mess_dress_uniform) Service (/wiki/Service_dress_uniform) Sailor (/wiki/Sailor_suit) Combat (/wiki/Combat_uniform) Folk (/wiki/Folk_costume) Western dress codes (/wiki/Western_dress_codes) Formal (/wiki/Formal_wear) Morning dress (/wiki/Morning_dress) White tie (/wiki/White_tie) Ball gown (/wiki/Ball_gown) Semi-formal (/wiki/Semi-formal_wear) Black lounge suit (/wiki/Black_lounge_suit) Black tie (/wiki/Black_tie) Evening gown (/wiki/Evening_gown) Informal (/wiki/Informal_wear) Suit (/wiki/Suit) Cocktail dress (/wiki/Cocktail_dress) Pantsuit (/wiki/Pantsuit) Religious (/wiki/Religious_clothing) Christian (/wiki/Christian_clothing) Jewish (/wiki/Jewish_religious_clothing) Islamic (/wiki/Islamic_fashion) Modest fashion (/wiki/Modest_fashion) Casual (/wiki/Casual_wear) Smart casual (/wiki/Smart_casual) British country clothing (/wiki/British_country_clothing) Business casual (/wiki/Business_casual) Chic (/wiki/Chic) Cruise collection (/wiki/Cruise_collection) Preppy (/wiki/Preppy) Ivy League (/wiki/Ivy_League_(clothes)) Mod (/wiki/Mod_(subculture)) Sloane Ranger (/wiki/Sloane_Ranger) Teddy Boys (/wiki/Teddy_Boys) Young fogey (/wiki/Young_fogey) Street fashion (/wiki/Street_fashion) Streetwear (/wiki/Streetwear) Hip hop (/wiki/Hip_hop_fashion) Hippie (/wiki/Hippie#Art_and_fashion) Hipster (/wiki/Hipster_(contemporary_subculture)) Sportswear (/wiki/Sportswear) Athleisure (/wiki/Athleisure) Gorpcore (/wiki/Gorpcore) Sportswear fashion (/wiki/Sportswear_(fashion)) Surfwear (/wiki/Surfwear) Ghetto fabulous (/wiki/Ghetto_fabulous) Bling-bling (/wiki/Bling-bling) Vintage fashion (/wiki/Vintage_clothing) Alternative (/wiki/Alternative_fashion) Androgyny (/wiki/Androgyny_in_fashion) Bohemian 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fashion (/wiki/Japanese_street_fashion) Nigerian fashion (/wiki/Fashion_in_Nigeria) Russian fashion (/wiki/Russian_fashion) South Korean fashion (/wiki/Fashion_in_South_Korea) Swedish fashion (/wiki/Swedish_fashion) Thai fashion (/wiki/History_of_Thai_clothing) Vietnamese clothing (/wiki/Vietnamese_clothing) Fashion activism (/wiki/Fashion_activism) Anti-fashion (/wiki/Anti-fashion) Anti-sweatshop movement (/wiki/Anti-sweatshop_movement) Circular fashion (/wiki/Circular_fashion) Sustainable fashion (/wiki/Sustainable_fashion) Slow fashion (/wiki/Slow_fashion) Trashion (/wiki/Trashion) Zero-waste fashion (/wiki/Zero-waste_fashion) See also Ballet and fashion (/wiki/Ballet_and_fashion) Capsule wardrobe (/wiki/Capsule_wardrobe) Chinoiserie in fashion (/wiki/Chinoiserie_in_fashion) Dress code (/wiki/Dress_code) Undress (/wiki/Undress_code) Music and fashion (/wiki/Music_and_fashion) Fashion victim (/wiki/Fashion_victim) Fashion portal (/wiki/Portal:Fashion) NewPP limit report Parsed by 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Central Asian article of clothing Uzbek paranja Tajik faranji on display in the Konibodom Museum of History and Geography (/w/index.php?title=Konibodom_Museum_of_History_and_Geography&action=edit&redlink=1) [ tg (https://tg.wikipedia.org/wiki/%D0%9E%D1%81%D0%BE%D1%80%D1%85%D0%BE%D0%BD%D0%B0%D0%B8_%D1%82%D0%B0%D1%8A%D1%80%D0%B8%D1%85%D3%A3_%E2%80%93_%D0%BA%D0%B8%D1%88%D0%B2%D0%B0%D1%80%D1%88%D0%B8%D0%BD%D0%BE%D1%81%D0%B8%D0%B8_%D1%88%D0%B0%D2%B3%D1%80%D0%B8_%D0%9A%D0%BE%D0%BD%D0%B8%D0%B1%D0%BE%D0%B4%D0%BE%D0%BC) ] Part of a series (/wiki/Category:Islamic_female_clothing) on Islamic (/wiki/Islam) female (/wiki/Women_in_Islam) dress (/wiki/Islamic_clothing) Types (/wiki/Types_of_hijab) Abaya (/wiki/Abaya) Al-amira (/wiki/Al-amira) Battoulah (/wiki/Battoulah) Boshiya (/wiki/Boshiya) Burkini (/wiki/Burkini) Burqa (/wiki/Burqa) Çarşaf (/wiki/%C3%87ar%C5%9Faf) Chador (/wiki/Chador) Haik (/wiki/Haik_(garment)) Hijab (/wiki/Hijab) Jilbaab (/wiki/Jilb%C4%81b) Kerudung (/wiki/Kerudung) Kimeshek (/wiki/Kimeshek) Khimar (/wiki/Khimar) Kurhars (/wiki/Kurhars) Mukena (/wiki/Mukena) Niqaab (/wiki/Niq%C4%81b) Paranja Safseri (/wiki/Safseri) Selendang (/wiki/Selendang) Shayla (/wiki/Shayla) Tudong (/wiki/Tudong) Yashmak (/wiki/Yashmak) Practice and law by country (/wiki/Hijab_by_country) Australia (/wiki/Burka_ban_in_Australia) Britain (/wiki/British_debate_over_veils) Canada (/wiki/Islamic_veiling_practices_by_country#Canada) Egypt (/wiki/Niq%C4%81b_in_Egypt) France (/wiki/Islamic_scarf_controversy_in_France) Indonesia (/wiki/Women_in_Indonesia#National_law_and_sharia) Iran (/wiki/Hijab_in_Iran) Pakistan (/wiki/Women_in_Pakistan#Culture) Saudi Arabia (/wiki/Women%27s_rights_in_Saudi_Arabia#Hijab_and_dress_code) Taliban Afghanistan (/wiki/Taliban_treatment_of_women#Gender_policies) Turkey (/wiki/Headscarf_controversy_in_Turkey) Concepts Andaruni (/wiki/Andaruni) Awrah (/wiki/Intimate_parts_in_Islam) Fahisha (/wiki/Fahisha) Gender segregation (/wiki/Islam_and_gender_segregation) Haya (/wiki/Haya_(Islam)) Purdah (/wiki/Purdah) Zenana (/wiki/Zenana) Other Hijabophobia (/wiki/Hijabophobia) Hujum (/wiki/Hujum) Kashf-e hijab (/wiki/Kashf-e_hijab) My Stealthy Freedom (/wiki/My_Stealthy_Freedom) Wimple (/wiki/Wimple) World Hijab Day (/wiki/World_Hijab_Day) v t e Paranja / (/wiki/Help:IPA/English) ˈ p æ r ə n ˌ dʒ ɑː / (/wiki/Help:IPA/English) , paranji , or faranji [1] (#cite_note-AbdullaevAkbarzaheh2010_2-1) (from Arabic (/wiki/Arabic_language) : فرنجية , romanized (/wiki/Romanization_of_Arabic) : faranjiyyah ; [2] (#cite_note-2) Tajik (/wiki/Tajik_language) : فرنجی , фаранҷӣ , farançī ; Uzbek (/wiki/Uzbek_language) : paranji ; Russian (/wiki/Russian_language) : паранджа , romanized (/wiki/Romanization_of_Russian) : parandzha ) is a traditional Central Asian (/wiki/Central_Asian) robe (/wiki/Robe) for women and girls that covers the head and body. [3] (#cite_note-3) [1] (#cite_note-AbdullaevAkbarzaheh2010_2-1) It is also known as " burqa (/wiki/Burqa) " in Arabic. It is similar in basic style and function to other regional styles such as the Afghan chadari. The part that covered the face, known as the chachvan (https://ru.wikipedia.org/wiki/%D0%A7%D0%B0%D1%87%D0%B2%D0%B0%D0%BD) ( Uzbek (/wiki/Uzbek_language) : chachvon ; Russian (/wiki/Russian_language) : чачван ) or chashmband ( Tajik (/wiki/Tajik_language) : چشمبند , чашмбанд , caşmʙand ), was heavy in weight and made from horsehair. It was especially prevalent among urban Uzbeks (/wiki/Uzbeks) and Tajiks (/wiki/T%C4%81jik_people) , [4] (#cite_note-4) [5] (#cite_note-5) but was not commonly worn by people in the mountainous regions of Tajikistan. [1] (#cite_note-AbdullaevAkbarzaheh2010_2-1) It was also worn during the Shaybanids (/wiki/Shaybanids) ' rule ( c. 1510–1600). [6] (#cite_note-6) In the 1800s, Tajik and Uzbek Muslim women were required to wear paranja when outside their home. [7] (#cite_note-7) Paranji and chachvon were by 1917 common among urban Uzbek women of the southern river basins. This was less frequently worn in the rural areas, and scarcely at all on the nomadic steppe. [8] (#cite_note-8) One historical account of the paranja is from Lord Curzon (/wiki/Lord_Curzon) , who travelled to Bukhara (/wiki/Bukhara) in 1886. [9] (#cite_note-9) During his time there he never saw a woman between the ages of 10 and 50, for they were all concealed. The heavy black horsehair veils were "too bad and coarse for a seive", the women walking in loosely wrapped blue gowns with the empty sleeves pinned could have been "mistaken for clothes wandering about", and big leather boots covered their feet. [10] (#cite_note-10) [11] (#cite_note-BenjaminLieu2002-11) [12] (#cite_note-LittellLittell1889-12) [13] (#cite_note-SunyMartin2001-13) [14] (#cite_note-Northrop2016-14) Curzon noted that "Ladies of rank and good character never venture to show themselves in any public place or bazaar." He condemned this as a kind of tyranny, an exaggerated and erroneous notion of morality found everywhere in the East, but nowhere so striking as in Bukhara. [15] (#cite_note-Vámbéry1868-15) [16] (#cite_note-BenjaminLieu2002_2-16) In the beginning of the Soviet Union under Lenin's leadership, following Russia (/wiki/Russia) 's October Revolution (/wiki/October_Revolution) which brought about state atheism (/wiki/State_atheism) , Soviet officials accepted the covered women since Muslims were seen as allies with early communists of Russia against the old regime and the Russian Orthodox Church. Later under Stalin, however, Soviets sought to discourage or ban the veil (/wiki/Veil) and the paranja. [17] (#cite_note-Bourdeaux2002-17) [18] (#cite_note-18) The unveiling by the Soviets was called the hujum (/wiki/Hujum) in the Uzbek Soviet Socialist Republic (/wiki/Uzbek_Soviet_Socialist_Republic) (SSR). [19] (#cite_note-19) As the Soviet Communists secured their control of Central Asia, chachvans and paranjas were banned. [20] (#cite_note-20) [21] (#cite_note-AbdullaevAkbarzaheh2010_3-21) The paranjas were burned on orders of the Communists, who upheld the doctrine of Marxist-Leninist atheism (/wiki/Marxist-Leninist_atheism) . [22] (#cite_note-ArayEyyuboğluKikō1999-22) In the 1920s, the government "brought gangs of militant young atheists (/wiki/League_of_Militant_Atheists) to Central Asia (/wiki/Central_Asia) who physically assaulted (/wiki/Assault) women, often tearing the veil from their faces in the streets of Tashkent, Samarkand, and other cities." [23] (#cite_note-Hanks-23) However, some veil-wearing Muslim women responded by killing the women who were sent to take their veils off. [24] (#cite_note-24) Some Uzbeks violently opposed the anti-paranja, anti-child marriage and anti-polygamy campaign which was started by the Soviet Union. [25] (#cite_note-25) Since the dissolution of the Soviet Union (/wiki/Dissolution_of_the_Soviet_Union) , Tajikistan President Emomali has claimed that veils were not part of Tajik culture. [26] (#cite_note-26) The veil was attacked by the government of Kyrgyz President Almazbek Atambayev (/wiki/Almazbek_Atambayev) . [27] (#cite_note-27) [28] (#cite_note-28) [29] (#cite_note-29) They are seldom worn now in Central Asia while most devout Muslim women prefer hijab or headscarf. See also [ edit ] Fashion portal (/wiki/Portal:Fashion) Islam portal (/wiki/Portal:Islam) Niqāb and burqa (Muslim women's garments) related regulations (/wiki/Niq%C4%81b#Enforcement.2C_encouragement_and_bans) Types of hijab (/wiki/Types_of_hijab) Hujum (/wiki/Hujum) References [ edit ] ^ Jump up to: a b c Kamoludin Abdullaev; Shahram Akbarzaheh (27 April 2010). Historical Dictionary of Tajikistan . Scarecrow Press. pp. 129–. ISBN (/wiki/ISBN_(identifier)) 978-0-8108-6061-2 . Faranji (Paranja). (...) [The] term is (...) used for a cloak designed to cover the head, face, and body of Tajik females. The traditional Tajik faranji is a light robe made of silk or cotton with vestigial sleeves on the back and ornamented with embroidery, tassels, buttons, or other decoration. The Faranji is paired with a veil made of heavy horsehair that is used to conceal the woman's face. Before the Soviet period, women and girls were required to wear a faranji over the top of the head upon leaving the household. This garment was popular among (...) the females in the urban Tajik North (primarily the regions of Ferghana, Bukhara, and Samarqand); women in the mountainous regions of Tajikistan, including Badakhshon, were not familiar with the faranji and never covered their faces. ^ (#cite_ref-2) "Словник ісламізмів" (http://www.jnsm.com.ua/cgi-bin/u/book/mySIS.pl?showSISid=46609864-4036&pageSISid=3&action=showSIS&h=f) . Словник ісламізмів . Archived (https://web.archive.org/web/20180311021425/http://www.jnsm.com.ua/cgi-bin/u/book/mySIS.pl?showSISid=46609864-4036&pageSISid=3&action=showSIS&h=f) from the original on 11 March 2018 . Retrieved 24 April 2018 . ^ (#cite_ref-3) Ahmad Hasan Dani; Vadim Mikhaĭlovich Masson; Unesco (1 January 2003). History of Civilizations of Central Asia: Development in contrast : from the sixteenth to the mid-nineteenth century . UNESCO. pp. 357–. ISBN (/wiki/ISBN_(identifier)) 978-92-3-103876-1 . ^ (#cite_ref-4) "Traditional Costume of Uzbek Women of the Late 19th and 20th Centuries Khorezm - San'at - Archive of San'at magazine" (http://sanat.orexca.com/2009/2009-4/binafsha_nodir-2/) . sanat.orexca.com . Archived (https://web.archive.org/web/20171012083804/http://sanat.orexca.com/2009/2009-4/binafsha_nodir-2/) from the original on 12 October 2017 . Retrieved 24 April 2018 . ^ (#cite_ref-5) http://www.karakalpak (http://www.karakalpak) [ permanent dead link ] . com/jegde.html ^ (#cite_ref-6) "From the History of the Evolution of Uzbek National Costume - San'at - Archive of San'at magazine" (http://sanat.orexca.com/2006/2006-3/national_costume/) . sanat.orexca.com . Archived (https://web.archive.org/web/20170217053910/http://sanat.orexca.com/2006/2006-3/national_costume/) from the original on 17 February 2017 . Retrieved 24 April 2018 . ^ (#cite_ref-7) "Asian Muslim Women's Fashion History" (https://web.archive.org/web/20170818060350/http://www.aquila-style.com/focus-points/asian-muslim-womens-fashions-of-the-past/8011/) . www.aquila-style.com . Archived from the original (http://www.aquila-style.com/focus-points/asian-muslim-womens-fashions-of-the-past/8011/) on 18 August 2017 . Retrieved 24 April 2018 . ^ (#cite_ref-8) Northrop 2001 (#CITEREFNorthrop2001) , p. 198 ^ (#cite_ref-9) "Face veil, womens, (chachvan), looped construction, horsehair/ cotton, unknown maker (gypsy nomad woman), Russian Turkestan, c. 1900" (http://www.powerhousemuseum.com/collection/database/?irn=12271) . www.powerhousemuseum.com . Archived (https://web.archive.org/web/20160820071037/http://www.powerhousemuseum.com/collection/database/?irn=12271) from the original on 20 August 2016 . Retrieved 24 April 2018 . ^ (#cite_ref-10) "Bokhara - The forbidden city" (http://eurasia.travel/uzbekistan/cities/bukhara/history_of_bukhara/bokhara_-_the_forbidden_city/) . eurasia.travel . Archived (https://web.archive.org/web/20170510083829/http://eurasia.travel/uzbekistan/cities/bukhara/history_of_bukhara/bokhara_-_the_forbidden_city/) from the original on 10 May 2017 . Retrieved 24 April 2018 . ^ (#cite_ref-BenjaminLieu2002_11-0) Craig Benjamin; Samuel N. C. Lieu (/wiki/Samuel_N._C._Lieu) (2002). Walls and Frontiers in Inner-Asian History: Proceedings from the Fourth Conference of the Australasian Society for Inner Asian Studies (A.S.I.A.S) : Macquarie University, November 18-19, 2000 . Ancient History Documentary Research Centre, Macquarie University. ISBN (/wiki/ISBN_(identifier)) 978-2-503-51326-3 . ^ (#cite_ref-LittellLittell1889_12-0) Eliakim Littell; Robert S. Littell (1889). Littell's Living Age . T.H. Carter & Company. pp. 438–. The Living Age . Littell, Son and Company. 1889. pp. 438–. The Fortnightly Review . Chapman and Hall. 1889. pp. 130–. The Fortnightly . Chapman and Hall. 1889. pp. 130–. ^ (#cite_ref-SunyMartin2001_13-0) Ronald Grigor Suny; Terry Martin (29 November 2001). A State of Nations: Empire and Nation-Making in the Age of Lenin and Stalin . Oxford University Press. pp. 194–. ISBN (/wiki/ISBN_(identifier)) 978-0-19-534935-1 . ^ (#cite_ref-Northrop2016_14-0) Douglas Northrop (4 February 2016). Veiled Empire: Gender and Power in Stalinist Central Asia . Cornell University Press. ISBN (/wiki/ISBN_(identifier)) 978-1-5017-0296-9 . Russia in Central Asia in 1889 & the Anglo-Russian Question . Longmans, Green, and Company. 1889. pp. 175–. archived (https://archive.org/stream/russiaincentral00curzgoog/russiaincentral00curzgoog_djvu.txt) PDF (http://cui-zy.com/Recommended/Nature&glabolization/SunyStalinA%20State%20of%20Nations.pdf) Archived (https://web.archive.org/web/20160324135059/http://www.cui-zy.com/Recommended/Nature%26glabolization/SunyStalinA%20State%20of%20Nations.pdf) 2016-03-24 at the Wayback Machine (/wiki/Wayback_Machine) "[Ronald Grigor Suny, Terry Martin] a State of Nati(BookZZ.org)" (https://www.scribd.com/document/233753278/Ronald-Grigor-Suny-Terry-Martin-a-State-of-Nati-BookZZ-org) . Archived (https://web.archive.org/web/20160814182435/https://www.scribd.com/document/233753278/Ronald-Grigor-Suny-Terry-Martin-a-State-of-Nati-BookZZ-org) from the original on 2016-08-14 . Retrieved 2016-08-02 . ^ (#cite_ref-Vámbéry1868_15-0) Ármin Vámbéry (1868). Sketches of Central Asia: Additional Chapters on My Travels, Adventures, and on the Ethnology of Central Asia . Wm. H. Allen & Company. pp. 170–171. archived (https://archive.org/stream/sketchescentral00vmgoog/sketchescentral00vmgoog_djvu.txt) ^ (#cite_ref-BenjaminLieu2002_2_16-0) Craig Benjamin; Samuel N. C. Lieu (/wiki/Samuel_N._C._Lieu) (2002). Walls and Frontiers in Inner-Asian History: Proceedings from the Fourth Conference of the Australasian Society for Inner Asian Studies (A.S.I.A.S) : Macquarie University, November 18-19, 2000 . Ancient History Documentary Research Centre, Macquarie University. ISBN (/wiki/ISBN_(identifier)) 978-2-503-51326-3 . ^ (#cite_ref-Bourdeaux2002_17-0) Bourdeaux, Michael (2002). Eastern Europe, Russia and Central Asia 2003 . Taylor & Francis. p. 46. ISBN (/wiki/ISBN_(identifier)) 9781857431377 . ^ (#cite_ref-18) "Background: Women and Uzbek Nationhood" (https://www.hrw.org/reports/2001/uzbekistan/Uzbek0701-01.htm) . Human Rights Watch (/wiki/Human_Rights_Watch) . Archived (https://web.archive.org/web/20081102085930/http://www.hrw.org/reports/2001/uzbekistan/Uzbek0701-01.htm) from the original on 2 November 2008 . Retrieved 16 September 2010 . ^ (#cite_ref-19) Hierman, Brent (January 20, 2016). "Citizenship in Soviet Uzbekistan" (http://dissertationreviews.org/archives/13361) . Dissertation Reviews . Archived (https://web.archive.org/web/20161201081736/http://dissertationreviews.org/archives/13361) from the original on December 1, 2016. ^ (#cite_ref-20) "Tajik women's paranja" (http://www.powerhousemuseum.com/collection/database/?irn=319780) . www.powerhousemuseum.com . Archived (https://web.archive.org/web/20160307193306/http://www.powerhousemuseum.com/collection/database/?irn=319780) from the original on 7 March 2016 . Retrieved 24 April 2018 . ^ (#cite_ref-AbdullaevAkbarzaheh2010_3_21-0) Kamoludin Abdullaev; Shahram Akbarzaheh (27 April 2010). Historical Dictionary of Tajikistan . Scarecrow Press. pp. 381–. ISBN (/wiki/ISBN_(identifier)) 978-0-8108-6061-2 . ^ (#cite_ref-ArayEyyuboğluKikō1999_22-0) Aray, Osman; Eyyuboğlu, B. Baykal; Kikō, Sōgō Kenkyū Kaihatsu (1999). The newly independent states of inner Asia and Turkey's policy . National Institute for Research Advancement. p. 577. ISBN (/wiki/ISBN_(identifier)) 9784795574175 . ^ (#cite_ref-Hanks_23-0) Reuel R. Hanks (21 October 2010). Global Security Watch--Central Asia . ABC-CLIO. p. 46. In an extreme case from the 1920s, the government promoted the khudjum campaign, a movement that encouraged women to voluntarily discard the paranja , as the veil is called in the Turkic-speaking regions, but also brought gangs of militant young atheists to Central Asia who physically assaulted women, often tearing the veil from their faces in the streets of Tashkent, Samarkand, and other cities. ^ (#cite_ref-24) "Clothes of the Past" (http://www.khiva.info/gb/clothes_earr/cl_of_past.htm) . www.khiva.info . Archived (https://web.archive.org/web/20171015041719/http://www.khiva.info/gb/clothes_earr/cl_of_past.htm) from the original on 15 October 2017 . Retrieved 24 April 2018 . ^ (#cite_ref-25) "The untold story of Uzbekistan's dancer extraordinaire" (https://web.archive.org/web/20170818070326/http://www.aquila-style.com/focus-points/mightymuslimah/tamara-khanum/26863/) . www.aquila-style.com . Archived from the original (http://www.aquila-style.com/focus-points/mightymuslimah/tamara-khanum/26863/) on 18 August 2017 . Retrieved 24 April 2018 . ^ (#cite_ref-26) Pannier, Bruce (April 1, 2015). "Central Asia's Controversial Fashion Statements" (http://www.rferl.org/content/central-asia-fashion-islamic-risque-western-national-mentality/26932437.html) . Radio Free Europe Radio Liberty . Archived (https://web.archive.org/web/20150715184950/http://www.rferl.org/content/central-asia-fashion-islamic-risque-western-national-mentality/26932437.html) from the original on July 15, 2015. ^ (#cite_ref-27) " (https://www.bbc.com/news/blogs-trending-36846249) 'Women in mini skirts don't become suicide bombers' (https://www.bbc.com/news/blogs-trending-36846249) " (https://www.bbc.com/news/blogs-trending-36846249) . BBC News . 13 August 2016. Archived (https://web.archive.org/web/20171025174249/http://www.bbc.com/news/blogs-trending-36846249) from the original on 25 October 2017 . Retrieved 24 April 2018 . ^ (#cite_ref-28) "Kyrgyz Women Warned Of Dangers Of Islamic Dress" (https://www.rferl.org/a/kyrgyzstan-islam-hijab-women/27888178.html) . 29 July 2016. Archived (https://web.archive.org/web/20161005142834/http://www.rferl.org/a/kyrgyzstan-islam-hijab-women/27888178.html) from the original on 5 October 2016 . Retrieved 24 April 2018 – via www.rferl.org. ^ (#cite_ref-29) "#Биз Кайда Баратабыз?" (https://www.youtube.com/watch?v=8QjZIRFi2n4) . YouTube (/wiki/YouTube) . Archived (https://web.archive.org/web/20170710011625/https://www.youtube.com/watch?v=8QjZIRFi2n4) from the original on 2017-07-10 . Retrieved 2016-08-14 . https://youtu (https://youtu) Archived (https://web.archive.org/web/20130806053748/http://youtu/) 2013-08-06 at the Wayback Machine (/wiki/Wayback_Machine) . be/8QjZIRFi2n4 "Photo" (https://web.archive.org/web/20160828025857/http://presskg.com/wp-content/uploads/2016/07/2-23.jpg) . Archived from the original (http://presskg.com/wp-content/uploads/2016/07/2-23.jpg) on 2016-08-28 . Retrieved 2016-08-14 . Further reading [ edit ] Lobacheva, N. P. (1997). "On the History of the Paranja". Anthropology & Archeology of Eurasia . 36 (2). Abingdon, Oxon: Routledge, Taylor & Francis: 63–90. doi (/wiki/Doi_(identifier)) : 10.2753/AAE1061-1959360263 (https://doi.org/10.2753%2FAAE1061-1959360263) . ISSN (/wiki/ISSN_(identifier)) 1061-1959 (https://www.worldcat.org/issn/1061-1959) . Northrop, Douglas (2001). "Nationalizing Backwardness: Gender, Empire, and Uzbek Identity" (https://archive.org/details/guidetolcshinfor00doej/page/191) . In Suny, Ronald Grigor; Martin, Terry (eds.). State of Nations: The Soviet State and Its Peoples . Oxford University Press. pp. 191–220 (https://archive.org/details/guidetolcshinfor00doej/page/191) . Northrop, Douglas (2003). Veiled Empire: Gender and Power in Stalinist Central Asia . Cornell University Press (/wiki/Cornell_University_Press) . ISBN (/wiki/ISBN_(identifier)) 978-0801488917 . External links [ edit ] For analysis of and discussion of the function of the robes, and for photos of such robes, see: Worldisround.com (https://archive.today/20130210071408/http://www.worldisround.com/articles/150042/photo24.html) Powerhousemuseum.com (http://www.powerhousemuseum.com/collection/database/?irn=319866&search=atlas&images=&c=1&s=) http://www.all-about-photo.com/photographer.php?name=arkady-shaikhet&id=517&popupimage=8#top (http://www.all-about-photo.com/photographer.php?name=arkady-shaikhet&id=517&popupimage=8#top) http://weheartit.com/entry/group/38110430 (http://weheartit.com/entry/group/38110430) http://www.susanmeller.com/books/silk-and-cotton/ (http://www.susanmeller.com/books/silk-and-cotton/) http://shop.hotmooncollection.com/uzbek-horsehair-face-veil/ (http://shop.hotmooncollection.com/uzbek-horsehair-face-veil/) https://www.pinterest.com/pin/101542166574656568 (https://www.pinterest.com/pin/101542166574656568) http://www.talesoftheveils.info/dave_potter/new_uzbeki_woman.html (http://www.talesoftheveils.info/dave_potter/new_uzbeki_woman.html) v t e Uzbek clothing (/wiki/Uzbek_clothing) Headgear Chugurma (/wiki/Chugurma) Doppi (/wiki/Doppi) Kalpak (/wiki/Kalpak) Karakul (/wiki/Karakul_(hat)) Taqiyah (/wiki/Taqiyah_(cap)) Turban (/wiki/Turban) Clothing Chapan (/wiki/Chapan) Lozim Paranja Yaktak Footwear Kavush Mahsi Stitching and design Adras Atlas Ikat (/wiki/Ikat) Zardozi (/wiki/Zardozi) Category:Uzbek clothing (/wiki/Category:Uzbek_clothing) NewPP limit report Parsed by mw‐web.codfw.main‐7cd59cdcfb‐2gv5d Cached time: 20240717224804 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.753 seconds Real time usage: 0.919 seconds Preprocessor visited node count: 2337/1000000 Post‐expand include size: 99192/2097152 bytes Template argument size: 1774/2097152 bytes Highest expansion depth: 17/100 Expensive parser function count: 7/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 156289/5000000 bytes Lua time usage: 0.545/10.000 seconds Lua memory usage: 16331049/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 840.746 1 -total 41.87% 352.028 1 Template:Reflist 19.25% 161.841 18 Template:Cite_book 13.60% 114.345 1 Template:Lang-ar 12.62% 106.071 1 Template:Islamic_female_dress 12.14% 102.083 1 Template:Sidebar 8.61% 72.348 15 Template:Cite_web 8.32% 69.946 1 Template:Short_description 6.09% 51.205 1 Template:Harvnb 5.40% 45.437 1 Template:Uzbek_clothing Saved in parser cache with key enwiki:pcache:idhash:8797107-0!canonical and timestamp 20240717224804 and revision id 1217140304. Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Paranja&oldid=1217140304 (https://en.wikipedia.org/w/index.php?title=Paranja&oldid=1217140304) " Categories (/wiki/Help:Category) : Islamic female clothing (/wiki/Category:Islamic_female_clothing) Robes and cloaks (/wiki/Category:Robes_and_cloaks) Culture of Uzbekistan (/wiki/Category:Culture_of_Uzbekistan) Veils (/wiki/Category:Veils) Uzbek clothing (/wiki/Category:Uzbek_clothing) Culture of Tajikistan (/wiki/Category:Culture_of_Tajikistan) Hidden categories: All articles with dead external links (/wiki/Category:All_articles_with_dead_external_links) Articles with dead external links from April 2020 (/wiki/Category:Articles_with_dead_external_links_from_April_2020) Articles with permanently dead external links (/wiki/Category:Articles_with_permanently_dead_external_links) Webarchive template wayback links (/wiki/Category:Webarchive_template_wayback_links) Articles with short description (/wiki/Category:Articles_with_short_description) Short description is different from Wikidata (/wiki/Category:Short_description_is_different_from_Wikidata) Articles containing Arabic-language text (/wiki/Category:Articles_containing_Arabic-language_text) Articles containing Tajik-language text (/wiki/Category:Articles_containing_Tajik-language_text) Articles containing Uzbek-language text (/wiki/Category:Articles_containing_Uzbek-language_text) Articles containing Russian-language text (/wiki/Category:Articles_containing_Russian-language_text) |
Swimsuit Not to be confused with Burkina Faso (/wiki/Burkina_Faso) . A woman wearing a burkini while swimming in the waves. Part of a series (/wiki/Category:Islamic_female_clothing) on Islamic (/wiki/Islam) female (/wiki/Women_in_Islam) dress (/wiki/Islamic_clothing) Types (/wiki/Types_of_hijab) Abaya (/wiki/Abaya) Al-amira (/wiki/Al-amira) Battoulah (/wiki/Battoulah) Boshiya (/wiki/Boshiya) Burkini Burqa (/wiki/Burqa) Çarşaf (/wiki/%C3%87ar%C5%9Faf) Chador (/wiki/Chador) Haik (/wiki/Haik_(garment)) Hijab (/wiki/Hijab) Jilbaab (/wiki/Jilb%C4%81b) Kerudung (/wiki/Kerudung) Kimeshek (/wiki/Kimeshek) Khimar (/wiki/Khimar) Kurhars (/wiki/Kurhars) Mukena (/wiki/Mukena) Niqaab (/wiki/Niq%C4%81b) Paranja (/wiki/Paranja) Safseri (/wiki/Safseri) Selendang (/wiki/Selendang) Shayla (/wiki/Shayla) Tudong (/wiki/Tudong) Yashmak (/wiki/Yashmak) Practice and law by country (/wiki/Hijab_by_country) Australia (/wiki/Burka_ban_in_Australia) Britain (/wiki/British_debate_over_veils) Canada (/wiki/Islamic_veiling_practices_by_country#Canada) Egypt (/wiki/Niq%C4%81b_in_Egypt) France (/wiki/Islamic_scarf_controversy_in_France) Indonesia (/wiki/Women_in_Indonesia#National_law_and_sharia) Iran (/wiki/Hijab_in_Iran) Pakistan (/wiki/Women_in_Pakistan#Culture) Saudi Arabia (/wiki/Women%27s_rights_in_Saudi_Arabia#Hijab_and_dress_code) Taliban Afghanistan (/wiki/Taliban_treatment_of_women#Gender_policies) Turkey (/wiki/Headscarf_controversy_in_Turkey) Concepts Andaruni (/wiki/Andaruni) Awrah (/wiki/Intimate_parts_in_Islam) Fahisha (/wiki/Fahisha) Gender segregation (/wiki/Islam_and_gender_segregation) Haya (/wiki/Haya_(Islam)) Purdah (/wiki/Purdah) Zenana (/wiki/Zenana) Other Hijabophobia (/wiki/Hijabophobia) Hujum (/wiki/Hujum) Kashf-e hijab (/wiki/Kashf-e_hijab) My Stealthy Freedom (/wiki/My_Stealthy_Freedom) Wimple (/wiki/Wimple) World Hijab Day (/wiki/World_Hijab_Day) v t e A burkini (or burqini ; portmanteau (/wiki/Portmanteau) of burqa (/wiki/Burqa) and bikini (/wiki/Bikini) , though qualifying as neither of these garments) is a style of swimsuit (/wiki/Swimsuit) for women. The suit covers the whole body except the face, the hands, and the feet, while being light enough for swimming. This type of swimwear was designed with the intention of creating swimwear for Muslims who observe hijab in this way. The amount of skin covered is about the same as the person wearing a wetsuit (/wiki/Wetsuit) and a swimming cap (/wiki/Swim_cap) . [1] (#cite_note-:0-1) The burkini was originally designed in Australia (/wiki/Australia) by Aheda Zanetti (/wiki/Aheda_Zanetti) . [2] (#cite_note-SMH_19082016-2) Zanetti's company Ahiida owns the trademarks (/wiki/Trademark) to the words burkini and burqini , but they are sometimes used as generic terms for similar forms of swimwear. [3] (#cite_note-gen-3) In 2016, a number of French municipalities banned the wearing of burkinis, which sparked international controversy and accusations of Islamophobia (/wiki/Islamophobia) . The resulting publicity caused a significant increase in sales, especially sales to non-Muslims and to survivors of skin cancer (/wiki/Skin_cancer) . Before then, Zanetti's company had sold about 700,000 burkinis worldwide. [2] (#cite_note-SMH_19082016-2) Creation of the burkini [ edit ] A burkini displayed on a mannequin in a museum at the Chemical Heritage Foundation (/wiki/Science_History_Institute) . The exhibit highlights the use of polyester (/wiki/Polyester) and spandex (/wiki/Spandex) to create elastic clothing. The burkini is not a traditional item of clothing. It was originally designed by Aheda Zanetti, a Muslim Australian. Zanetti has indicated that several experiences influenced her creation of the burkini. One was watching her niece play netball (/wiki/Netball) , wearing traditional Muslim clothing, including a headscarf. Zanetti recognized that there was a lack of sportswear for Muslim girls and women that would meet the needs of both modesty and physical activity, so she designed some culturally appropriate activewear (/wiki/Sportswear_(activewear)) clothing. Without clothing that they considered appropriate, women in the Muslim community were uncomfortable going to public pools and beaches. [4] (#cite_note-Zanetti-4) Cultural restrictions on physical activity have been shown to have serious health implications for Muslim women. [5] (#cite_note-Kaaki-5) [6] (#cite_note-Survey-6) [7] (#cite_note-Zafar-7) Zanetti began to think about how to design Muslim-friendly sportswear. [4] (#cite_note-Zanetti-4) The creation of the burkini was also a response to the 2005 Cronulla riots (/wiki/2005_Cronulla_riots) in Sydney, Australia (/wiki/Sydney,_Australia) . On 4 December 2005, a small number of volunteer surf lifesavers (/wiki/Lifeguard) were involved in an altercation with some young men of Middle Eastern descent. A verbal exchange escalated, resulting in a pushing match that became a fight. One of the lifeguards was badly hurt after falling and striking his head. [8] (#cite_note-8) The following weekend, a racially incited mob of thousands of white Australians gathered and rioted at North Cronulla beach (/wiki/Cronulla,_New_South_Wales) . Following the riots, Surf Life Saving Australia (/wiki/Surf_Life_Saving_Australia) began an initiative to promote diversity and acceptance on Sydney's beaches by recruiting Muslim lifeguards. [9] (#cite_note-Farrell-9) [10] (#cite_note-7-facts-10) Muslim women were uncomfortable with the available swimwear. By 2007, Zanetti had designed a uniform to be worn by female Muslim lifeguards: a special yellow and red two-piece swimsuit that covered the head and body. [11] (#cite_note-Akou-11) [4] (#cite_note-Zanetti-4) [10] (#cite_note-7-facts-10) [2] (#cite_note-SMH_19082016-2) [12] (#cite_note-12) Description [ edit ] Further information: Hijab (/wiki/Hijab) Zanetti's Sydney-based company Ahiida owns the trademarks to the words burqini and burkini , but the words have become generic terms for similar forms of modesty swimwear. [3] (#cite_note-gen-3) This type of suit covers the whole body except the face, the hands and the feet, whilst being light enough to enable swimming. [13] (#cite_note-Taylor-13) Generally, a pair of straight-legged pants and a long-sleeved tunic tie together so that the tunic will not float up when the swimmer is in the water. A hood, or in some cases a hood and a swim cap, accommodate the wearer's hair and cover the neck, fitting closely around the face. [11] (#cite_note-Akou-11) The hood may or may not be attached to the tunic. [14] (#cite_note-Chandab-14) The suit resembles a full-length wetsuit (/wiki/Wetsuit) with a built-in hood (/wiki/Hood_(headgear)) , but is somewhat looser. [15] (#cite_note-Rob-15) The suits are made of SPF50+ fabric, generally using a finely knit polyester (/wiki/Polyester) swimsuit fabric rather than the heavier neoprene (/wiki/Neoprene) used for wetsuits. [11] (#cite_note-Akou-11) Depending on the manufacturer and model, a suit can consist of two to four pieces. Aheda Zanetti's original burkini consisted of two pieces: pants and a tunic with an attached hood. It was made from 100 percent polyester. [14] (#cite_note-Chandab-14) Ahiida now markets three types of burkini (modest fit, slim fit, and active fit) in a variety of colors. The active fit style is more snug than the others and uses a polyester-spandex blend fabric which is coated with Teflon to decrease water resistance. [11] (#cite_note-Akou-11) Other styles of "Islamic" swimwear include the brands Veilkini (/wiki/Veilkini) and MyCozzie. [16] (#cite_note-Ali_Khan-16) The MyCozzie brand, based in Dubai but designed by Australian Jenny Nicholson, was not designed solely for Islamic women. The basic suit consists of two pieces, and has an optional hood. The material contains both lycra (/wiki/Lycra) and polyester (/wiki/Polyester) . [14] (#cite_note-Chandab-14) [17] (#cite_note-Belleza-17) In 2009, Zanetti criticized the MyCozzie suit, claiming that its use of lycra could make it heavier and that the optional hood could be unsafe, claims which Nicholson disputed. [14] (#cite_note-Chandab-14) The Veilkini brand offers skirted two piece suits in multiple styles, made of a spandex (/wiki/Spandex) and polyester mix. [18] (#cite_note-Veilkini-18) Other companies that make body-covering suits include Splashgear (California), Acquagym (Brazil), Haşema (Turkey), Nike (/wiki/Nike,_Inc.) , and Speedo (/wiki/Speedo) . Suits such as the Nike "Swift Suit" may be more body-hugging, designed to maximize hydrodynamics, rather than address issues of modesty. [11] (#cite_note-Akou-11) In addition to modesty, full-body swimsuits offer protection from the sun, and in some cases, enhanced athletic performance. They satisfy real needs for populations that include both Muslim and non-Muslim women. [11] (#cite_note-Akou-11) : 26 Modest dress [ edit ] Further information: Types of hijab (/wiki/Types_of_hijab) The design of the burkini is intended to be in accord with the hijab (/wiki/Hijab) . [11] (#cite_note-Akou-11) However, what constitutes proper attire for women is a matter of debate in Islamic tradition, and differs by country and community. Some moderate Muslims accept the burqini as meeting a commonly applied standard that requires a woman to cover all parts of her body except her hands and face (including covering her hair) when in mixed company. [11] (#cite_note-Akou-11) : 28 Others are concerned that stretchy or clinging fabric reveals the outline of the body. [19] (#cite_note-Fitzpatrick-19) More restrictive Muslims may also advocate that the head covering be long enough to cover the breasts, or that a skirt cover the hips. For similar reasons, pants are sometimes considered overly revealing. Hanafi scholars such as those at Al-Azhar University (/wiki/Al-Azhar_University) in Cairo, Egypt, reject full-body swimsuits as allowable wear in mixed company. [11] (#cite_note-Akou-11) : 29–30 An even stricter standard requires covering of the face except for the eyes, the niqab (/wiki/Niqab) . [11] (#cite_note-Akou-11) : 30 The most restrictive standard of dress involves covering the entire body with a burqa (/wiki/Burqa) or chadaree which includes a screen over the face and eyes. [11] (#cite_note-Akou-11) : 30 The burqa, which is not a swimsuit, provides much more cover than the burkini, although the two are sometimes confused by non-Muslims due to the similarity in names. The issue of women's dress is very much an issue of gendered gaze. In single-sex pools, where men are not allowed, the degree of women's cover is not considered a problem. [11] (#cite_note-Akou-11) : 30 "Muslim women are not the only women (or men) who would like some latitude, please, in their choices of swim (and other) attire. Not all people like to share the shape or sight of their body with others, particularly strangers." [11] (#cite_note-Akou-11) : 28 "I received my new burqini today... It may seem like such a small thing to some, but I had to fight back the tears today when I tried it on... finally, I can be Muslim and still do all the things I love, comfortably." [11] (#cite_note-Akou-11) : 25 As noted by professor of Dress Studies and Fashion Design Heather Marie Akou, arguments about the burkini (and other forms of female dress) are not just about a garment, but also about the symbolism, assumptions, and political implications projected onto it. [11] (#cite_note-Akou-11) : 26 Discussions of feminism (/wiki/Feminism) , immigration (/wiki/Immigration) , and secularism (/wiki/Secularism) bring forth widely differing views of the burqini and other modesty swimwear. The burqini can be seen as a personal clothing choice, an indicator of women's subjugation, an enabler of women's increased physical freedom, or a militant and fundamentalist religious symbol that challenges a secularist state. [11] (#cite_note-Akou-11) : 31–34 Users [ edit ] Woman wearing a burkini while playing beach handball (/wiki/Beach_handball) , where uniforms typically are bikini (/wiki/Bikini) or similar adapted sports wear. In 2016, Zanetti estimated that 40% of her customer base has been non-Muslim. She stated: "We've sold to Jews, Hindus, Christians, Mormons, women with various body issues. We've had men asking for them, too." [10] (#cite_note-7-facts-10) Notable non-Muslim wearers have included Nigella Lawson (/wiki/Nigella_Lawson) , who wore a burkini in Australia in 2011, not out of religious observance, but to protect her skin. [20] (#cite_note-20) When introduced at Marks & Spencer (/wiki/Marks_%26_Spencer) stores in Britain in March 2016, burkinis sold out. [21] (#cite_note-Rodionova-21) For modesty [ edit ] The burkini has also found popularity in Israel (/wiki/Israel) , both among Orthodox Jews (/wiki/Orthodox_Judaism) and among Muslims (/wiki/Muslim) , and is called either burkini or simply "modest swimwear". [22] (#cite_note-22) To avoid sun exposure [ edit ] The burkini has also been adopted by cancer survivors (/wiki/Cancer_survivor) and others who are at high risk of skin cancer (/wiki/Skin_cancer) . [23] (#cite_note-23) [1] (#cite_note-:0-1) Like other types of sun protective clothing (/wiki/Sun_protective_clothing) , people who wear burkinis may reduce their risk of skin cancer. [24] (#cite_note-24) In Asia, where light-colored complexions (/wiki/Light_skin) are fashionable, the burkini is used by women who want to be outside without tanning (/wiki/Sun_tanning) . [25] (#cite_note-:1-25) They may pair it with a facekini (/wiki/Facekini) to avoid having a darker-skinned face. It has also been worn by celebrities to avoid sunburns or UV-induced skin damage, which can lead to premature skin aging (/wiki/Skin_aging) . [25] (#cite_note-:1-25) By country [ edit ] France [ edit ] In August 2009, a woman in France (/wiki/France) was prevented from swimming in a public pool wearing a burkini, amidst ongoing controversy (/wiki/Islamic_scarf_controversy_in_France) about Muslim dress. The action was justified by reference to a law that forbids swimming in street clothes. [26] (#cite_note-26) The controversy over the burkini in France may also be seen as reflecting broadly held French attitudes against religious expression in public. French law emphasizes the importance of creating a "religiously neutral arena" in which people are expected to appear similar, as well as being treated equally. In this, France differs significantly from countries such as the United States, which emphasizes individual freedom of choice about whether to express religious sentiments. [11] (#cite_note-Akou-11) : 33 In August 2016, the mayor of Cannes (/wiki/Cannes) banned the swimsuits, claiming a possible link to Islamic extremism. [27] (#cite_note-27) At least 20 other French towns, including Nice (/wiki/Nice) , subsequently joined the ban. [28] (#cite_note-28) [29] (#cite_note-rubin-29) Following this, dozens of women were issued fines, with some tickets citing not wearing "an outfit respecting good morals and secularism"; furthermore, some women were verbally attacked by bystanders when they were confronted by the police. [29] (#cite_note-rubin-29) [30] (#cite_note-Cockburn-30) [31] (#cite_note-Quinn-31) [32] (#cite_note-row-escalates-32) Enforcement of the ban also hit beachgoers wearing a wide range of modest attire besides the burkini, such as an ordinary long-sleeved shirt and leggings (/wiki/Leggings) worn over a typical swimsuit. [29] (#cite_note-rubin-29) [32] (#cite_note-row-escalates-32) The media reported that in one case, armed police forced a woman to remove the burkini she was wearing over her clothes on a beach in Nice. [30] (#cite_note-Cockburn-30) [31] (#cite_note-Quinn-31) [32] (#cite_note-row-escalates-32) The mayor of Nice's office denied that she was forced to do so, and the mayor condemned what he called the "unacceptable provocation" of wearing such clothes in the aftermath of the Nice terrorist attack (/wiki/2016_Nice_truck_attack) . [29] (#cite_note-rubin-29) [32] (#cite_note-row-escalates-32) As of August 2016 [update] (https://en.wikipedia.org/w/index.php?title=Burkini&action=edit) , the ban enacted by the commune of Villeneuve-Loubet (/wiki/Villeneuve-Loubet) has been suspended by France's highest administrative court (/wiki/Conseil_d%27%C3%89tat_(France)) , setting a potential precedent for further legal challenges. [33] (#cite_note-33) Reactions [ edit ] The ban was supported by a number of French politicians, including the socialist prime minister Manuel Valls (/wiki/Manuel_Valls) , who said: "The burkini is not a new range of swimwear, a fashion. It is the expression of a political project, a counter-society, based notably on the enslavement of women." [34] (#cite_note-34) Some commentators in France criticized the bans, and reports of Muslim women being stopped by police for wearing headscarves and long-sleeved clothes on beaches caused outrage among members of the French Socialist Party and rights groups. [32] (#cite_note-row-escalates-32) A poll showed that 64% of the French public supported the bans, while another 30% were indifferent. [35] (#cite_note-35) The bans and their enforcement prompted criticism and ridicule abroad, particularly in English-speaking countries. [29] (#cite_note-rubin-29) [36] (#cite_note-straights-36) [37] (#cite_note-bangkok-37) A New York Times (/wiki/New_York_Times) editorial called French politicians' "paternalistic pronouncements on the republic's duty to save Muslim women from enslavement" bigotry and hypocritical. [38] (#cite_note-nyt-ed-38) Liberal British Muslim activist Maajid Nawaz (/wiki/Maajid_Nawaz) offered a critique of both the swimsuit and its ban: "Burkini is sad symbol of Islam today going backwards on gender issues. Banning it is sad symbol of liberalism today going backwards in reply." [39] (#cite_note-39) Other Muslim commentators, particularly Muslim women, have argued that the burkini gives women who do not wish to expose their body for religious or other reasons the freedom to enjoy the beach. [36] (#cite_note-straights-36) [40] (#cite_note-40) [41] (#cite_note-41) [42] (#cite_note-42) Human Rights Watch (/wiki/Human_Rights_Watch) also criticized the ban, stating that it "actually amounts to banning women from the beach, in the middle of the summer, just because they wish to cover their bodies in public. It's almost a form of collective punishment against Muslim women for the actions of others." [43] (#cite_note-43) Some drew parallels between the burkini ban and the French ban of the Catholic soutane (/wiki/Soutane) some 111 years earlier after the 1905 French law on the Separation of the Churches and the State (/wiki/1905_French_law_on_the_Separation_of_the_Churches_and_the_State) . [44] (#cite_note-ft15sep2016-44) Germany [ edit ] In December 2018, the municipality of Koblenz (/wiki/Koblenz) , citing hygiene concerns, voted to ban the burkini in public swimming pools in 2018, with CDU, AfD and Freie Wähler councillors forming a majority for the decision. [45] (#cite_note-45) Protests were held against the decision gathering some 70 individuals from Central Council of Muslims in Germany (/wiki/Central_Council_of_Muslims_in_Germany) , Social Democratic Party of Germany (/wiki/Social_Democratic_Party_of_Germany) and Alliance 90/The Greens (/wiki/Alliance_90/The_Greens) . [46] (#cite_note-46) In June 2019, German courts overruled and lifted the ban citing violations to the German constitution's call for equality. [47] (#cite_note-47) In June 2018, a school in western Germany created controversy after it was found handing out burkinis to students who otherwise refused to attend swim classes. [48] (#cite_note-BBC_News-48) Some argued that the school is sending a misogynistic message, including Julia Klöckner, a member of Angela Merkel's Christian Democratic party, who said the school creates a "misogynistic understanding in a place where children and teenagers are supposed to learn the opposite." [49] (#cite_note-The_Telegraph-49) Others, including Franziska Giffey, the German minister of family affairs, support the school's decision saying, "the most important thing is the well-being of the children, and that means that all learn to swim." [48] (#cite_note-BBC_News-48) The school has stated that burkinis were paid for by private donations. [49] (#cite_note-The_Telegraph-49) Morocco [ edit ] In 2014 some private pools in Morocco (/wiki/Morocco) 's tourist hotspots prohibited the wearing of burkinis, citing "hygiene reasons", which also sparked political controversy. [50] (#cite_note-50) Switzerland [ edit ] In December 2017, the Swiss city of Geneva (/wiki/Geneva) passed a law requiring swimmers to wear swimsuits that do not go lower than the knee and keep the swimmer's arms bare, which would effectively ban not only burkinis but also the bodyskins (/wiki/Bodyskins) used by elite swimmers, swim dresses (/wiki/Swim_dress) , rash guards (/wiki/Rash_guards) , wetsuits (/wiki/Wetsuits) , and other styles of swimsuits. [51] (#cite_note-The_Local-51) They simultaneously banned topless (/wiki/Toplessness) swimming in the city pools. [51] (#cite_note-The_Local-51) The ban refined a rule that went into force in September 2017, which required swimmers to wear "any clothing that is specifically used for swimming". [52] (#cite_note-52) The September rule was prompted by young people swimming in public pools in street wear (/wiki/Streetwear) (e.g., ordinary T-shirts), which had caused concerns about hygiene. [51] (#cite_note-The_Local-51) The more restrictive ban sparked controversies among some, including Sami Kanaan, the city's socialist administrative advisor, who called the rule a "denial of an open, multicultural and liberal Geneva". [53] (#cite_note-53) Before the ban, councillors were only aware of one person having ever worn a burkini to the city's pools. [51] (#cite_note-The_Local-51) See also [ edit ] Islam portal (/wiki/Portal:Islam) Fashion portal (/wiki/Portal:Fashion) Bathing machine (/wiki/Bathing_machine) Facekini (/wiki/Facekini) References [ edit ] ^ Jump up to: a b Noman, Natasha. "The inventor of the burkini says nearly half of her customers are not actually Muslim" (https://www.mic.com/articles/152658/the-inventor-of-the-burkini-says-nearly-half-of-her-customers-are-not-actually-muslim) . Mic.com . Archived (https://web.archive.org/web/20210124124750/https://www.mic.com/articles/152658/the-inventor-of-the-burkini-says-nearly-half-of-her-customers-are-not-actually-muslim) from the original on 24 January 2021 . Retrieved 25 August 2019 . ^ Jump up to: a b c Taylor, Adam (19 August 2016). "The surprising Australian origin story of the burkini" (https://www.smh.com.au/lifestyle/fashion/the-surprising-australian-origin-story-of-the-burkini-20160818-gqvdu9.html) . The Sydney Morning Herald (/wiki/The_Sydney_Morning_Herald) . Archived (https://web.archive.org/web/20210525011023/https://www.smh.com.au/lifestyle/fashion/the-surprising-australian-origin-story-of-the-burkini-20160818-gqvdu9.html) from the original on 25 May 2021 . Retrieved 21 August 2016 . ^ Jump up to: a b "Has burqini become a generic trademark?" (https://www.genericides.org/trademark/burqini) . genericides.org . 7 September 2019 . Retrieved 2 March 2021 . ^ Jump up to: a b c Zanetti, Aheda (24 August 2016). "I created the burkini to give women freedom, not to take it away" (https://www.theguardian.com/commentisfree/2016/aug/24/i-created-the-burkini-to-give-women-freedom-not-to-take-it-away) . The Guardian . Retrieved 27 February 2017 . ^ (#cite_ref-Kaaki_5-0) Kaaki, Lisa (17 June 2010). "Yasmin Altwaijri: Mother, wife and scientist" (http://www.arabnews.com/node/347825) . Arab News . Retrieved 15 December 2016 . ^ (#cite_ref-Survey_6-0) "Project Principle Investigators" (https://web.archive.org/web/20170110230226/http://www.healthandstress.org.sa/en/pi.asp) . Saudi National Health and Stress Survey . Archived from the original (http://www.healthandstress.org.sa/en/pi.asp) on 10 January 2017 . Retrieved 15 December 2016 . ^ (#cite_ref-Zafar_7-0) Zafar, Rahilla (24 December 2014). "Yasmin Altwaijri: A Saudi Scientist Tackles Mental Health and Obesity" (https://www.huffingtonpost.com/rahilla-zafar/yasmin-altwaijri-a-saudi-_b_6041814.html) . The Huffington Post . Retrieved 15 December 2016 . ^ (#cite_ref-8) "Burkini Altercation" (http://www.abc.net.au/mediawatch/transcripts/ep38cronulla2.pdf) (PDF) . abc.net.au . Retrieved 18 December 2022 . ^ (#cite_ref-Farrell_9-0) Farrell, Paul (8 December 2015). "How Cronulla's summer of simmering tension boiled over into race riots" (https://www.theguardian.com/australia-news/2015/dec/09/cronulla-summer-simmering-tension-race-riots-10-years) . The Guardian . Retrieved 27 February 2017 . ^ Jump up to: a b c Adam Taylor (24 August 2016). "7 uncomfortable facts about France's burkini controversy" (https://www.washingtonpost.com/news/worldviews/wp/2016/08/24/7-uncomfortable-facts-about-frances-burkini-controversy/) . Washington Post . ^ Jump up to: a b c d e f g h i j k l m n o p q Akou, Heather Marie (18 November 2013). "A Brief History of the Burqini". Dress . 39 (1): 25–35. doi (/wiki/Doi_(identifier)) : 10.1179/0361211213Z.0000000009 (https://doi.org/10.1179%2F0361211213Z.0000000009) . S2CID (/wiki/S2CID_(identifier)) 218667980 (https://api.semanticscholar.org/CorpusID:218667980) . ^ (#cite_ref-12) "Why do some people find the burkini offensive?" (https://www.bbc.com/news/world-europe-37130963) , BBC, 20 August 2016. Retrieved 21 August 2016. ^ (#cite_ref-Taylor_13-0) Taylor, Adam (17 August 2006). "The surprising Australian origin story of the 'burkini' (https://www.washingtonpost.com/news/worldviews/wp/2016/08/17/the-surprising-australian-origin-story-of-the-burkini/) " (https://www.washingtonpost.com/news/worldviews/wp/2016/08/17/the-surprising-australian-origin-story-of-the-burkini/) . Washington Post . ^ Jump up to: a b c d Chandab, Taghred (30 August 2009). "Itsy bitsy teeny weeny burqini design battle" (https://www.smh.com.au/lifestyle/itsy-bitsy-teeny-weeny-burqini-design-battle-20090829-f3ax.html) . The Sydney Morning Herald . Retrieved 4 September 2009 . ^ (#cite_ref-Rob_15-0) Taylor, Rob (17 January 2007). "Not so teenie burqini brings beach shift" (https://www.reuters.com/article/us-australia-burqini-idUSN1717399120070117) . Reuters (/wiki/Reuters) . Archived (https://web.archive.org/web/20150924090455/http://www.reuters.com/article/2007/01/17/us-australia-burqini-idUSN1717399120070117) from the original on 24 September 2015 . Retrieved 2 March 2011 . ^ (#cite_ref-Ali_Khan_16-0) Ali Khan, Ujala (2 June 2014). "Desi girl: Most desis don't swim but they do love to be by the seaside" (http://www.thenational.ae/lifestyle/desi-girl-most-desis-dont-swim-but-they-do-love-to-be-by-the-seaside) . The National . Retrieved 27 February 2017 . ^ (#cite_ref-Belleza_17-0) Belleza, Irish Eden (31 August 2009). "Filling void in modest swimwear" (http://www.gulfnews.com/business/Industry/10345033.html) . Gulf News General . ^ (#cite_ref-Veilkini_18-0) "Veilkini" (http://www.veilkini.com/) . Veilkini.com . Retrieved 27 February 2017 . ^ (#cite_ref-Fitzpatrick_19-0) Fitzpatrick, Laura (19 July 2007). "The New Swimsuit Issue" (https://www.splashgearusa.com/Articles.asp?ID=290) . Splashgear . Retrieved 29 November 2019 . ^ (#cite_ref-20) Jones, Lucy (19 April 2011). "Nigella Lawson's burkini: can you blame her? by Lucy Jones at telegraph.co.uk/" (https://web.archive.org/web/20110423021443/http://blogs.telegraph.co.uk/culture/lucyjones/100052878/nigella-lawsons-burkini-can-you-blame-her/) . Blogs.telegraph.co.uk. Archived from the original (http://blogs.telegraph.co.uk/culture/lucyjones/100052878/nigella-lawsons-burkini-can-you-blame-her/) on 23 April 2011 . Retrieved 14 March 2013 . ^ (#cite_ref-Rodionova_21-0) Rodionova, Zlata (23 August 2016). "Marks & Spencer burkini collection sells out" (https://www.independent.co.uk/news/business/news/burkini-marks-and-spencer-sells-out-france-ban-muslim-islam-attire-a7205456.html) . The Independent . Retrieved 28 February 2017 . ^ (#cite_ref-22) "אופנת בגדי הים החדשה במגזר החרדי (In Hebrew)" (http://www.haaretz.co.il/magazine/1.1798001) . Haaretz. 11 August 2012. ^ (#cite_ref-23) "France's Burkini Ban Backfires: Non-Muslim Women Suit Up" (https://www.hollywoodreporter.com/news/frances-burkini-ban-backfires-muslim-922597) . The Hollywood Reporter . 24 August 2016 . Retrieved 25 August 2019 . ^ (#cite_ref-24) " (http://www.china.org.cn/world/2016-09/01/content_39207277.htm) 'Burkini' could save lives through skin cancer protection - China.org.cn" (http://www.china.org.cn/world/2016-09/01/content_39207277.htm) . www.china.org.cn . Retrieved 25 August 2019 . ^ Jump up to: a b Khan, Aina (1 July 2019). "Fan of Modest Swimwear? These are the Brands That You Need to Know About" (https://en.vogue.me/fashion/modest-swimwear-brands-you-need-to-know-about/) . Vogue Arabia . Retrieved 25 August 2019 . ^ (#cite_ref-26) "French pool bans 'burkini' swim" (http://news.bbc.co.uk/2/hi/europe/8197917.stm) . 12 August 2009 . Retrieved 5 October 2015 . ^ (#cite_ref-27) "Cannes bans burkinis over suspected link to radical Islamism" (https://www.bbc.com/news/world-europe-37056742) . BBC News . 12 August 2016 . Retrieved 12 August 2016 . ^ (#cite_ref-28) "Nice joins growing list of French towns to ban burqini" (http://www.thelocal.fr/20160819/nice-joins-list-of-french-towns-to-ban-burqini) . The Local.fr . 19 August 2016 . Retrieved 22 August 2016 . ^ Jump up to: a b c d e ALISSA J. RUBIN (24 August 2016). "French 'Burkini' Bans Provoke Backlash as Armed Police Confront Beachgoers" (https://www.nytimes.com/2016/08/25/world/europe/france-burkini.html) . The New York Times . ^ Jump up to: a b Harry Cockburn (24 August 2016). "Burkini ban: Armed police force woman to remove her clothing on Nice beach" (https://www.independent.co.uk/news/world/europe/burkini-swimwear-ban-france-nice-armed-police-hijab-muslim-a7206776.html) . The Independent . ^ Jump up to: a b Ben Quinn (23 August 2016). "French police make woman remove clothing on Nice beach following burkini ban" (https://www.theguardian.com/world/2016/aug/24/french-police-make-woman-remove-burkini-on-nice-beach) . The Guardian . ^ Jump up to: a b c d e Angelique Chrisafis (24 August 2016). "French burkini ban row escalates after clothing incident at Nice beach" (https://www.theguardian.com/world/2016/aug/24/french-burkini-ban-row-escalates-clothing-incident-woman-police-nice-beach) . The Guardian . ^ (#cite_ref-33) "France burkini: Highest court suspends ban" (https://www.bbc.com/news/world-europe-37198479) . BBC. 26 August 2016. ^ (#cite_ref-34) Kroet, Cynthia (17 August 2016). "Manuel Valls: Burkini "not compatible" with French values" (http://www.politico.eu/article/manuel-valls-burkini-not-compatible-with-french-values/) . Politico Europe (/wiki/Politico_Europe) . ^ (#cite_ref-35) "France 'burkini ban': Court to rule on beach fines" (https://www.bbc.com/news/world-europe-37183083) . BBC. 25 August 2016. ^ Jump up to: a b "Critics say France's ban on beach burkinis absurd, illogical, raises questions over French way of integration" (http://www.straitstimes.com/world/europe/critics-say-frances-ban-on-beach-burkinis-absurd-illogical-raises-questions-over-french) . AFP/The Straits Times. 20 August 2016. ^ (#cite_ref-bangkok_37-0) "Burkini bans cause ripples in France, consternation abroad" (http://www.bangkokpost.com/news/world/1064292/burkini-bans-cause-ripples-in-france-consternation-abroad) . AFP/Bangkok Post. 18 August 2016. ^ (#cite_ref-nyt-ed_38-0) Editorial Board (18 August 2016). "France's Burkini Bigotry" (https://www.nytimes.com/2016/08/19/opinion/frances-burkini-bigotry.html) . The New York Times (/wiki/The_New_York_Times) . ^ (#cite_ref-39) "maajid nawaz on Twitter" (https://web.archive.org/web/20201130212639/https://twitter.com/MaajidNawaz/status/765240709934907392) . Archived from the original (https://twitter.com/MaajidNawaz/status/765240709934907392) on 30 November 2020. ^ (#cite_ref-40) " (https://www.bbc.com/news/world-europe-37171749) 'It's about freedom': Ban boosts burkini sales 'by 200%' (https://www.bbc.com/news/world-europe-37171749) " (https://www.bbc.com/news/world-europe-37171749) . BBC. 24 August 2016. ^ (#cite_ref-41) Ritu Upadhyay (24 August 2016). "French burkini ban puzzles, upsets Muslim fashion designers" (https://www.latimes.com/fashion/la-ig-burkini-ban-industry-reaction-20160824-snap-story.html) . Los Angeles Times . ^ (#cite_ref-42) "Cannes "burkini" ban: What do Muslim women think?" (https://www.bbc.com/news/world-europe-37062354) . BBC. 13 August 2016. ^ (#cite_ref-43) Jeannerod, Bénédicte (25 August 2016). "France's Shameful and Absurd Burkini Ban" (https://www.hrw.org/news/2016/08/25/frances-shameful-and-absurd-burkini-ban) . Human Rights Watch (/wiki/Human_Rights_Watch) . ^ (#cite_ref-ft15sep2016_44-0) Chassany, Anne-Sylvaine (15 September 2016). "France: Islam and the secular state" (https://www.ft.com/content/05c420b8-75a5-11e6-b60a-de4532d5ea35) . Financial Times . Retrieved 3 February 2017 . ^ (#cite_ref-45) "Burkini-Verbot in Koblenzer Bädern: Beschluss stößt auf Kritik" (https://www.rhein-zeitung.de/region_artikel,-burkiniverbot-in-koblenzer-baedern-beschluss-stoesst-auf-kritik-_arid,1911927.html) . www.rhein-zeitung.de (in German). 17 December 2018 . Retrieved 26 December 2018 . ^ (#cite_ref-46) Aktuell, S. W. R. "Demonstration gegen Burkini-Verbot" (https://web.archive.org/web/20190410051622/https://www.swr.de/swraktuell/rheinland-pfalz/koblenz/Nach-Koblenzer-Stadtratsbeschluss-Demonstration-gegen-Burkini-Verbot,demonstration-burkini-100.html) . swr.online (in German). Archived from the original (https://www.swr.de/swraktuell/rheinland-pfalz/koblenz/Nach-Koblenzer-Stadtratsbeschluss-Demonstration-gegen-Burkini-Verbot,demonstration-burkini-100.html) on 10 April 2019 . Retrieved 26 December 2018 . ^ (#cite_ref-47) "German court lifts city's ban on burkini swimsuits" (https://nypost.com/2019/06/14/german-court-lifts-citys-ban-on-burkini-swimsuits/) . New York Post. 14 June 2019. ^ Jump up to: a b "Germany burkinis: Minister says garments should be allowed in schools" (https://www.bbc.com/news/world-europe-44600471) . BBC News . 25 June 2018. ^ Jump up to: a b "German politicians row over use of burkinis in school swimming lessons" (https://www.telegraph.co.uk/news/2018/06/25/german-politicians-row-use-burkinis-school-swimming-lessons/) . The Telegraph. 25 June 2018. ^ (#cite_ref-50) "No Burkinis! Morocco hotels ban 'halal' suit" (http://english.alarabiya.net/en/variety/2014/08/26/No-Burkinis-Morocco-hotels-ban-halal-swimsuit.html) . Al Arabiya News. 26 August 2014. ^ Jump up to: a b c d "Geneva Bans Burkini and Topless Bathing in City's Swimming Pools" (https://www.thelocal.ch/20171207/geneva-bans-burkini-and-topless-bathing-in-citys-swimming-pools) . The Local. 7 December 2017. ^ (#cite_ref-52) "Burkini ban: Geneva says women must bare arms and legs" (https://www.msn.com/en-nz/news/world/burkini-ban-geneva-says-women-must-bare-arms-and-legs/ar-BBGzrag) . MSN News. 11 December 2017. ^ (#cite_ref-53) "Burkini ban: Geneva says women must bare arms and legs" (https://www.independent.co.uk/news/world/europe/burkini-ban-geneva-bare-arms-legs-a8102701.html) . Independent. 11 December 2017. 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(/wiki/Footwear) Boot (/wiki/Boot) Court shoe (/wiki/Court_shoe) Dress boot (/wiki/Dress_boot) Dress shoe (/wiki/Dress_shoe) Flip-flops (/wiki/Flip-flops) Sandal (/wiki/Sandal) Shoe (/wiki/Shoe) Slipper (/wiki/Slipper) Sneaker (/wiki/Sneaker) Legwear (/wiki/Hosiery) Sock (/wiki/Sock) Hold-ups (/wiki/Hold-ups) Garter (/wiki/Garter) Pantyhose (/wiki/Pantyhose) Stocking (/wiki/Stocking) Tights (/wiki/Tights) Accessories (/wiki/Fashion_accessory) Belt (/wiki/Belt_(clothing)) Boutonnière (/wiki/Boutonni%C3%A8re) Coin purse (/wiki/Coin_purse) Cufflink (/wiki/Cufflink) Cummerbund (/wiki/Cummerbund) Gaiters (/wiki/Gaiters) Glasses (/wiki/Glasses) Gloves (/wiki/Glove) Headband (/wiki/Headband) Handbag (/wiki/Handbag) Jewellery (/wiki/Jewellery) Livery (/wiki/Livery) Muff (/wiki/Muff_(handwarmer)) Pocket protector (/wiki/Pocket_protector) Pocket watch (/wiki/Pocket_watch) Sash (/wiki/Sash) Spats (/wiki/Spats_(footwear)) Sunglasses (/wiki/Sunglasses) Suspenders (/wiki/Suspenders) Umbrella (/wiki/Umbrella) Wallet (/wiki/Wallet) Watch (/wiki/Watch) Dress codes (/wiki/Dress_code) Western (/wiki/Western_dress_codes) Formal (/wiki/Formal_wear) morning dress (/wiki/Morning_dress) white tie (/wiki/White_tie) Semi-formal (/wiki/Semi-formal_wear) black lounge suit (/wiki/Black_lounge_suit) black tie (/wiki/Black_tie) Informal (/wiki/Informal_wear) Casual (/wiki/Casual_wear) Related Clothing fetish (/wiki/Clothing_fetish) Clothing swap (/wiki/Clothing_swap) Costume (/wiki/Costume) creature suit (/wiki/Creature_suit) Halloween costume (/wiki/Halloween_costume) Cross-dressing (/wiki/Cross-dressing) Environmental impact (/wiki/Environmental_impact_of_fashion) Fashion (/wiki/Fashion) haute couture (/wiki/Haute_couture) made-to-measure (/wiki/Made-to-measure) ready-to-wear (/wiki/Ready-to-wear) Fur clothing (/wiki/Fur_clothing) types (/wiki/List_of_types_of_fur) Fursuit (/wiki/Fursuit) Global trade of secondhand clothing (/wiki/Global_trade_of_secondhand_clothing) Laws 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Crew members wearing Helly Hansen (/wiki/Helly_Hansen) suits Helly Hansen (/wiki/Helly_Hansen) jacket and gloves Sailing wear is a type of clothing (/wiki/Clothing) for sailing (/wiki/Sailing) . It protects the sailor (/wiki/Sailor) from water and insulates the body on board a vessel (/wiki/Ship) . There are different types in use, the most premier sailing wear is the offshore set used for the open seas. Usually offshore sailing wear consists of special shoes or Wellington boots (/wiki/Wellington_boot) , a pant (/wiki/Trousers) with suspenders (/wiki/Suspenders) , a jacket (/wiki/Jacket) with a high collar (/wiki/Collar_(clothing)) , and other increasingly technical layers worn underneath this outerwear. In addition, specially designed gloves (/wiki/Glove) made with synthetic leathers are worn for protection and to increase holding power on sheets. Footwear [ edit ] Clockwise from top: Sperry Top-Sider (/wiki/Sperry_Top-Sider) , Le Chameau (/wiki/Le_Chameau) , Jeantex, Aigle (/wiki/Aigle_(company)) , Gill (/w/index.php?title=Douglas_Gill_International&action=edit&redlink=1) , Helly-Hansen (/wiki/Helly-Hansen) and Newport short and tall rubber sailing wellingtons. Marine footwear is extremely important in order to stay safe while sailing. Sailing wet-boots are designed to keep the sailor's feet dry and can be either rubber moulded or more technical. The most common range of fabrics are Gore-Tex (/wiki/Gore-Tex) and leather. All of the 100% waterproof marine boots have non marking, slip-resistant soles in order to avoid any damage to the vessel's deck. All boots require thermal socks as the rubber does not provide enough warmth. Technical boots have a minimal insulating lining which is why socks are well advised. [1] (#cite_note-1) Producers [ edit ] Notable producers are: Sperry Top-Sider (/wiki/Sperry_Top-Sider) Henri Lloyd (/wiki/Henri_Lloyd) Helly Hansen (/wiki/Helly_Hansen) Musto (/wiki/Musto_(company)) SLAM (/wiki/SLAM_(clothing)) North Sails (/wiki/North_Sails) Douglas Gill International (/w/index.php?title=Douglas_Gill_International&action=edit&redlink=1) Rooster Sailing (/wiki/Rooster_Sailing) Zhik (/w/index.php?title=Zhik&action=edit&redlink=1) See also [ edit ] Sports portal (/wiki/Portal:Sports) Fashion portal (/wiki/Portal:Fashion) Sportswear (activewear) (/wiki/Sportswear_(activewear)) References [ edit ] ^ (#cite_ref-1) "A guide to marine footwear" (http://www.sailingclothingstore.co.uk/buyers_guides/marine_footwear.aspx) . External links [ edit ] Wikimedia Commons has media related to Sailing wear (https://commons.wikimedia.org/wiki/Category:Sailing_wear) . This clothing (/wiki/Clothing) -related article is a stub (/wiki/Wikipedia:Stub) . You can help Wikipedia by expanding it (https://en.wikipedia.org/w/index.php?title=Sailing_wear&action=edit) . v t e NewPP limit report Parsed by mw‐api‐ext.codfw.main‐c85b9bc65‐rdgqz Cached time: 20240721002107 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.195 seconds Real time usage: 0.504 seconds Preprocessor visited node count: 310/1000000 Post‐expand include size: 7621/2097152 bytes Template argument size: 369/2097152 bytes Highest expansion depth: 13/100 Expensive parser function count: 3/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 10604/5000000 bytes Lua time usage: 0.132/10.000 seconds Lua memory usage: 3126336/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 215.481 1 -total 38.41% 82.760 1 Template:Reflist 31.92% 68.774 1 Template:Cite_web 27.08% 58.353 1 Template:Clothing-stub 26.38% 56.850 1 Template:Asbox 19.11% 41.171 1 Template:Commons_category 17.89% 38.545 1 Template:Sister_project 17.08% 36.803 1 Template:Side_box 15.23% 32.825 1 Template:Portal 1.80% 3.887 1 Template:Replace Saved in parser cache with key enwiki:pcache:idhash:9010996-0!canonical and timestamp 20240721002107 and revision id 1057279380. Rendering was triggered because: api-parse esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Sailing_wear&oldid=1057279380 (https://en.wikipedia.org/w/index.php?title=Sailing_wear&oldid=1057279380) " Categories (/wiki/Help:Category) : Sailing equipment (/wiki/Category:Sailing_equipment) Sportswear (/wiki/Category:Sportswear) Maritime culture (/wiki/Category:Maritime_culture) Clothing stubs (/wiki/Category:Clothing_stubs) Hidden categories: Commons category link is on Wikidata (/wiki/Category:Commons_category_link_is_on_Wikidata) All stub articles (/wiki/Category:All_stub_articles) |
French magazine supplement to Le Figaro Madame Figaro December 2010 cover featuring Rosario Dawson (/wiki/Rosario_Dawson) Editors Nicole Picart and Blanche Rival Categories Fashion (/wiki/Fashion_magazine) , women's magazine (/wiki/Women%27s_magazine) Frequency Weekly Total circulation (2023) 392,173 [1] (#cite_note-1) Founded 1980 ; 44 years ago ( 1980 ) Company Groupe Figaro (/wiki/Groupe_Figaro) Country France (other editions worldwide) Based in Paris (/wiki/Paris) Language French (other editions worldwide in other languages) Website Madame Figaro ISSN (/wiki/ISSN_(identifier)) 0246-5205 (https://www.worldcat.org/search?fq=x0:jrnl&q=n2:0246-5205) Madame Figaro ( French pronunciation: [madam (/wiki/Help:IPA/French) fiɡaʁo] (/wiki/Help:IPA/French) ) is a French magazine (/wiki/Magazine) supplement to the Saturday edition of the daily newspaper Le Figaro (/wiki/Le_Figaro) , focusing on and catering to women. History and profile [ edit ] The first edition was published in 1980. [2] (#cite_note-2) Madame Figaro was spearheaded by Robert Hersant (/wiki/Robert_Hersant) , who succeeded Jean Prouvost (/wiki/Jean_Prouvost) (creator of the French women's fashion magazine Marie Claire (/wiki/Marie_Claire) ). The magazine experienced immediate success, owing to its diverse contents, and the quality of the writing, targeting affluent readers. The first female Editor-in-Chief of the magazine was Marie-Claire Pauwels (/wiki/Marie-Claire_Pauwels) , daughter of Louis Pauwels (/wiki/Louis_Pauwels) . The launch of Madame Figaro in 1980 marked a distinct distancing from the feminist movement (/wiki/Feminist_movement) of the preceding decade (notably from the movement to "liberate pornography (/wiki/Pornography) " that had a goal of seizing power from the dominant moral (/wiki/Moral) and religious institutions). Madame Figaro had its origins as a single page feature appearing in Figaro Magazine , because that magazine's majority of readers were female, drawn to its orientation towards topics on culture and the art of living ( l’art de vivre ). [3] (#cite_note-3) Le Figaro (/wiki/Le_Figaro) publishes a number of other supplements, each on a particular day of the week, for example, an economic news supplement, a supplement for its Paris-region readers, and so on. Madame Figaro is devoted solely to topics interesting to female readers. This has included such highly debated topics of the 1980s as: sexual relationships between men and women; aspirations towards equality between the sexes and to further women's emancipation; how to make families succeed during marriage; children and strong families. Madame Figaro is a mainstream women's magazine, feminine and a vehicle for ideas that are both liberal and conservative, since the beginning of the 1980s. A vital part of "Madame Figaro's" content is its focus on enhancing women's careers, and challenging conventional views of women's roles in society. [4] (#cite_note-4) Madame Figaro was among the first news publications in France to publish feature-length articles on the condition of women in foreign countries, using its own journalists. The worlds of fashion, beauty and interior design are the fundamental content of the magazine. Articles discussing elegance and distinction, all while taking a critical view of fashion's social conformity, have been hallmarks of the presentation of fashion in Madame Figaro . [5] (#cite_note-5) Culture in its broad sense occupies a place of importance in Madame Figaro , from literature, to history, as well as music. The magazine has had many articles on French celebrities such as Jean Giono (/wiki/Jean_Giono) , [6] (#cite_note-6) Jean Anouilh (/wiki/Jean_Anouilh) , [7] (#cite_note-7) as well as the Rolling Stones (/wiki/Rolling_Stones) , and Bob Dylan (/wiki/Bob_Dylan) . [8] (#cite_note-8) The magazine had been published by Hachette Filipacchi (/wiki/Hachette_Filipacchi) until 2001 when it began to be published Quebecor World Inc (/wiki/Quebecor_World) . [9] (#cite_note-sec-9) The first international edition was published in Portugal (/wiki/Portugal) under the name Máxima (/wiki/M%C3%A1xima_(magazine)) . [10] (#cite_note-figm-10) [11] (#cite_note-ada-11) During the 1980s, Madame Figaro expanded into several countries, such as Japan and Turkey, following the trend of globalization in women's magazines. [10] (#cite_note-figm-10) [11] (#cite_note-ada-11) In the 1990s, the Chinese version began to be published. [12] (#cite_note-12) In 2019, Madame Figaro further developed to a total of ten editions, latest of which started in Hong Kong in fall 2019. [13] (#cite_note-13) Madame Figaro appears with the Saturday edition of Le Figaro (/wiki/Le_Figaro) . Madame Figaro today [ edit ] The magazine published an online edition in addition to its paper edition. A part of the content of Madame Figaro is accessible free of charge online. The online edition also has several blogs dedicated to fashion and beauty topics, such as Fashion, etc… by Claudine Hesse. [14] (#cite_note-14) During the last half of 2007, the circulation of Madame Figaro was 455,802 copies. [15] (#cite_note-15) In 2011, the magazine had a circulation of 449,800 copies. [16] (#cite_note-16) The director of publishing in 2012 is Anne-Florence Schmitt (/w/index.php?title=Anne-Florence_Schmitt&action=edit&redlink=1) . The magazine has two editors-in-chief (/wiki/Editors-in-chief) , Nicole Picart (Fashion) and Blanche Rival (magazine). Editorial direction [ edit ] The publication is dedicated to trends in beauty and fashion. The editorial approach and the design target readers with high incomes, with luxury good (/wiki/Luxury_good) advertising, and publishing articles for readers with a familiarity with current affairs. Among its regular features are : Culture Madame , Rendez-vous Madame (public events and places), mode / accessoires et beauté (fashion, accessories, and beauty), le Carnet de Stéphane Bern (Stéphane Bern's journal), and the pages Conversation , Week-end , and others. Notable former contributors [ edit ] Princess Grace of Monaco (/wiki/Grace_of_Monaco) Geneviève Gennart Élisabeth Gassier Marie-Dominique Sassin Constance Poniatowski Christine Clerc (/w/index.php?title=Christine_Clerc&action=edit&redlink=1) Philippe Nassif (/wiki/Philippe_Nassif) Grand Prix Littéraire (great literary prize) [ edit ] The Grand Prix Littéraire de l'Héroïne Madame Figaro is a prize awarded every year since 2006 by the magazine. It is awarded to a writer, who by her writing, has made a contribution to the biography genre. 2010: Violaine Binet, Diane Arbus (Grasset) 2009: Jacqueline Mesnil-Amar (/wiki/Jacqueline_Mesnil-Amar) , Ceux qui ne dormaient pas (Stock) 2008: Marie-Dominique Lelièvre (/wiki/Marie-Dominique_Leli%C3%A8vre) , Sagan à toute allure (Denoël) 2007: Dominique Bona (/wiki/Dominique_Bona) , Camille et Paul: La passion claudel (Grasset) 2006: Angie David (/wiki/Angie_David) , Dominique Aury (Léo Scheer) References [ edit ] ^ (#cite_ref-1) "Madame Figaro − History" (https://www.acpm.fr/Support/madame-figaro) . Alliance pour les chiffres de la presse et des médias (/wiki/Alliance_pour_les_chiffres_de_la_presse_et_des_m%C3%A9dias) (in French). n.d. Archived (https://archive.today/20240323194222/https://www.acpm.fr/Support/madame-figaro) from the original on 23 March 2024 . Retrieved 23 March 2024 . ^ (#cite_ref-2) "Société du Figaro S.A. - Company Profile" (http://www.referenceforbusiness.com/history2/2/Soci-t-du-Figaro-S-A.html) . Reference for Business . Retrieved 10 May 2015 . ^ (#cite_ref-3) Claire Blandin, Le Figaro: Deux siècles d’histoire , Armand Colin, 2007, p.264 ^ (#cite_ref-4) Marianne Lohse, « 40 femmes qui font la France », Madame Figaro , n° 11420, May 1981, p.18 ^ (#cite_ref-5) Marie-Claire Pauwels, « Madame Figaro ou le snobisme de masse », Les Échos de la Presse et de la Publicité , n° 1476, 15 December 1986, p. 44 ^ (#cite_ref-6) Catherine Caubere, « Découvrez la Provence de Giono », Madame Figaro , n°11242, October 1980, p.20 ^ (#cite_ref-7) Constance Pontiatowski et Marion Thebaud, « Les spectacles du mois », Madame Figaro , n°11528, September 1981, p.10 ^ (#cite_ref-8) Jacques Doucelin et Jean-Luc Wachthausen, « Les disques du mois », Madame Figaro , n°11528, September 1981, p.22 ^ (#cite_ref-sec_9-0) "Quebecor World INC. acquires Hachette Filipacchi printing assets in Europe" (https://www.sec.gov/Archives/edgar/containers/fix020/1003470/0000912057-01-533693.txt) . US Securities and Exchange Commission . Washington, DC. 27 September 2001 . Retrieved 19 April 2015 . ^ Jump up to: a b "Madame Figaro International: 3 centuries of brand history" (https://web.archive.org/web/20150417183528/http://www.figaromedias.fr/emailing/NEWSMARS2010/MFInternationale2010.pdf) (PDF) . Figaro Medias . February 2010. Archived from the original (http://www.figaromedias.fr/emailing/NEWSMARS2010/MFInternationale2010.pdf) (PDF) on 17 April 2015 . Retrieved 11 April 2015 . ^ Jump up to: a b Kristin Hohenadel (17 April 1995). " (http://adage.com/article/news/figaro-fashions-global-niche/82229/) 'Figaro' Fashions Own Global Niche" (http://adage.com/article/news/figaro-fashions-global-niche/82229/) . Ad Age . Paris . Retrieved 11 April 2015 . ^ (#cite_ref-12) Kevin Latham (2007). Pop Culture China!: Media, Arts, and Lifestyle . ABC-CLIO. p. 153. ISBN (/wiki/ISBN_(identifier)) 978-1-85109-582-7 . Retrieved 24 April 2016 . ^ (#cite_ref-13) "Madame Figaro Launches Hong Kong Edition" (https://www.businessoffashion.com/articles/news-bites/madame-figaro-launches-hong-kong-edition) . Business of Fashion . 28 June 2019. ^ (#cite_ref-14) Fashion, etc. (http://blog.madame.lefigaro.fr/hesse/) Archived (https://web.archive.org/web/20120715082422/http://blog.madame.lefigaro.fr/hesse/) 15 July 2012 at the Wayback Machine (/wiki/Wayback_Machine) Madame Figaro . ^ (#cite_ref-15) "List of represented titles" (https://web.archive.org/web/20150505210435/http://www.publicitas.com/fileadmin/uploads/common/Vertretungsliste_15.09.2008.pdf) (PDF) . Publicitas International AG . 15 September 2008. Archived from the original (http://www.publicitas.com/fileadmin/uploads/common/Vertretungsliste_15.09.2008.pdf) (PDF) on 5 May 2015 . Retrieved 5 May 2015 . ^ (#cite_ref-16) Marc Baudriller (16 February 2012). "Les suppléments du Figaro dopent les recettes du groupe". Challenges (in French) (288): 6. ISSN (/wiki/ISSN_(identifier)) 0751-4417 (https://www.worldcat.org/issn/0751-4417) . External links [ edit ] Wikimedia Commons has media related to Madame Figaro . Official website (http://madame.lefigaro.fr) Madame Figaro Japan (https://madamefigaro.jp/) Madame Figaro Hong Kong (https://www.madamefigaro.hk/) Madame Figaro Cyprus (http://www.diasmedia.com/entypa/madame-figaro) Portals (/wiki/Wikipedia:Contents/Portals) : Journalism (/wiki/Portal:Journalism) Feminism (/wiki/Portal:Feminism) Fashion (/wiki/Portal:Fashion) Society (/wiki/Portal:Society) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐2g2kq Cached time: 20240720170645 Cache expiry: 975197 Reduced expiry: true Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.463 seconds Real time usage: 0.638 seconds Preprocessor visited node count: 1532/1000000 Post‐expand include size: 29944/2097152 bytes Template argument size: 1721/2097152 bytes Highest expansion depth: 14/100 Expensive parser function count: 6/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 41641/5000000 bytes Lua time usage: 0.316/10.000 seconds Lua memory usage: 16185210/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 575.707 1 -total 31.02% 178.587 1 Template:Reflist 21.68% 124.816 5 Template:Cite_web 21.08% 121.365 1 Template:IPA-fr 20.77% 119.563 1 Template:IPA 13.07% 75.225 1 Template:Short_description 12.69% 73.038 1 Template:Infobox_magazine 11.89% 68.452 1 Template:Infobox 8.08% 46.498 1 Template:Portal_bar 7.32% 42.165 2 Template:Pagetype Saved in parser cache with key enwiki:pcache:idhash:9153986-0!canonical and timestamp 20240720170645 and revision id 1218498984. 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Cambodian traditional dress Khmer dancer wearning a sampot with a sabai and theatrial crown. A sampot ( Khmer (/wiki/Khmer_language) : សំពត់ /sɑmpʊət/ Khmer pronunciation: [sɑmpɔt] (/wiki/Help:IPA/Khmer) ), [1] (#cite_note-1) a long, rectangular cloth worn around the lower body, is a traditional dress in Cambodia (/wiki/Cambodia) . [2] (#cite_note-2) It can be draped and folded in several different ways. The traditional dress is similar to the dhoti (/wiki/Dhoti) of Southern Asia (/wiki/South_Asia) . It is also worn in the neighboring countries of Laos (/wiki/Laos) and Thailand (/wiki/Thailand) where it is known as pha nung (/wiki/Pha_nung) ( Thai (/wiki/Thai_language) : ผ้านุ่ง [pʰâː (/wiki/Help:IPA/Thai) nûŋ] (/wiki/Help:IPA/Thai) ). [3] (#cite_note-3) Origins [ edit ] The sampot dates back to the Funan era (/wiki/Kingdom_of_Funan) when a Cambodian king ordered the people of his kingdom to wear the sampot at the request of Chinese envoys. [4] (#cite_note-Green-4) It is similar to the lungi (/wiki/Lungi) and dhoti (/wiki/Dhoti) worn in the Indian subcontinent (/wiki/Indian_subcontinent) , the longyi (/wiki/Longyi) worn in Burma (/wiki/Burma) , and the sarong (/wiki/Sarong) worn in maritime Southeast Asia (/wiki/Maritime_Southeast_Asia) . Silk (/wiki/Silk) weaving was an important part of Cambodia's cultural past. People from Takéo Province (/wiki/Tak%C3%A9o_Province) have woven silk since the Funan era and records, bas-reliefs, and Zhou Daguan (/wiki/Zhou_Daguan) 's report have shown that looms were used to weave sompots since ancient times. [4] (#cite_note-Green-4) Complex methods and intricate patterns have been developed to make the cloth, one of which is the hol method which involves dyeing patterns on silk before weaving. What remains unique to Cambodian weavers is the uneven twill technique. The reason they adopted such an unusual method remains unclear. [5] (#cite_note-5) However, little is known about the Old Khmer (/wiki/Old_Khmer) vocabulary for these fabrics, and if the sampot today was simply changed over time from the original Angkorian textiles. The ancient bas-reliefs (/wiki/Bas-reliefs) however provide a complete look at what fabrics were like, down to patterns and pleats. Silk woven cloths are used in weddings (/wiki/Weddings) and funerals (/wiki/Funerals) and for decoration of temples. [6] (#cite_note-6) 11th century Khmer statue wearing sampot samloy (/wiki/Sampot_Samloy) , Guimet Museum (/wiki/Guimet_Museum) , Paris (/wiki/Paris) Modern sampot samloy (/wiki/Sampot_Samloy) 9-10th century Khmer statue wearing another design of sampot Folded sampot Textiles [ edit ] There are three important silk textiles in Cambodia. They include the ikat silks (chong kiet in Khmer), or hol, the twill-patterned silks and the weft ikat textiles. [ citation needed ] Patterns are made by tying natural and synthetic fibers (/wiki/Synthetic_fibers) on the weft threads and then it is dyed. It is repeated for different colors until the patterns firm and cloth is woven. [ citation needed ] Traditionally, five colors are used, predominantly red, yellow, green, blue and black. [ citation needed ] The Sompot Hol is used as a lower garment and as the sompot chang kben. The Pidan Hol is used as a ceremonial hanging used for religious purposes. Variations [ edit ] Sampot Phamuong Sampot Hol There are many variations of the sampot, each is worn according to class. The typical regular sampot, known also as the sarong (/wiki/Sarong) is typically worn by men and women of lower class (/wiki/Working_class) . It measures approximately one and a half meters and both ends are sewn together. It is tied to secure it on the waist. [ citation needed ] The Sampot Phamuong សំពត់ផាមួង /sɑmpʊət pʰaa muəŋ/ [7] (#cite_note-7) are many different variations of traditional Khmer textiles. They are single colored and twill woven. There are currently 52 colors used in Sampot Phamuong. The Phamuong Chorabap is a luxurious fabric using up to 22 needles to create. Phamuong variation are rabak, chorcung, anlounh, kaneiv and bantok. It usually uses floral and geometric motifs. The most valued (/wiki/Value_(economics)) silk used to create the Phamuong is Cambodian yellow silk (/wiki/Silk) , known for its fine quality in the region. New designs (/wiki/Designs) draw inspiration from ancient patterns on old silk. The Sampot Hol សំពត់ហូល /sɑmpʊət hool/ [8] (#cite_note-8) is a typical traditional textile. There are two kinds of Sampot Hol, one is a wrapping skirt that uses a technique called chang kiet and twill weave. Influenced by the Indian patola, it developed patterns and techniques over the centuries to become a genuine Khmer art style. The sampot hol has over 200 patterns combined with three to five colors, yellow, red, brown, blue, and green. There are four variations, sampot hol, sompot hol por, sampot hol kben, and sampot hol ktong. Patterns are usually geometric motifs, animals, and flower motifs. In daily life [ edit ] Khmer women wearing modern style Khmer evening dress. Those are worn during formal events, weddings, dinners, and parties. The sompot is deeply rooted in Cambodia. Even though the French (/wiki/France) brought a degree of Westernization (/wiki/Westernization) to Cambodia, Cambodians continued to wear the sompot. Royalty (/wiki/Royal_family) and government officials used the sampot chang kben (/wiki/Sompot_Chong_Kben) with a formal jacket. The sompot chong kben and sompot phamuong are still worn by Cambodians today during special occasions, and rural and poor Khmers still prefer it over Western-style clothing for its comfort. The material used by poor and rural Cambodians is not hand-woven silk but printed batik-patterned (/wiki/Batik) cloth imported from Indonesia (/wiki/Indonesia) . It is still popular with both men and women alike and is regarded by the people of Cambodia as their national garment (/wiki/Traditional_dress) . [ citation needed ] See also [ edit ] Cambodian clothing (/wiki/Cambodian_clothing) Culture of Cambodia (/wiki/Culture_of_Cambodia) Sompot Samloy (/wiki/Sompot_Chong_Somloy) Longyi (/wiki/Longyi) Lungi (/wiki/Lungi) Malong (/wiki/Malong) Patadyong (/wiki/Patadyong) Sarong (/wiki/Sarong) Sinh (/wiki/Sinh_(clothing)) Further reading [ edit ] Gillian Green (2003). Traditional textiles of Cambodia . Bangkok: River Books. ISBN (/wiki/ISBN_(identifier)) 974-8225-39-9 . References [ edit ] ^ (#cite_ref-1) "SEAlang Dictionary" (http://www.sealang.net/khmer/search.pl?dict=khmer&hasFocus=orth&approx=&orth=%E1%9E%9F%E1%9F%86%E1%9E%96%E1%9E%8F%E1%9F%8B&phone=&def=&anon=on&matchEntry=any&matchLength=word&matchPosition=any&source=&ety=&pos=&usage=&subject=&useTags=1) . www.sealang.net . Retrieved 2023-10-11 . ^ (#cite_ref-2) Emma C. Bunker (/wiki/Emma_Bunker) , Douglas Latchford (/wiki/Douglas_Latchford) . Adoration and glory: the golden age of Khmer art . Art Media Resources, 2004, p. 35 ^ (#cite_ref-3) James C. Ingram. Economic change in Thailand 1850-1970 . Stanford University Press, 1971, p. 10 By ^ Jump up to: a b Green, Gillian. "Textiles at the Khmer Court". Arts of Asia 30 (4): 82–92. ^ (#cite_ref-5) Textiles of the Highland Peoples of Burma, Vol. 2: The Northern Mon-Khmer, Rawang, Upland Burmish, Lolo, Karen, Tai, and Hmong-Mien-Speaking Groups , 2005. Michael C. Howard. White Lotus Co Ltd., ISBN (/wiki/ISBN_(identifier)) 978-9744800749 (/wiki/Special:BookSources/978-9744800749) ^ (#cite_ref-6) Joachim Schliesinger. Ethnic Groups of Cambodia Vol 2: Profile of Austro-Asiatic-Speaking Peoples. 312 pag. ISBN (/wiki/ISBN_(identifier)) 163-3232379 (/wiki/Special:BookSources/163-3232379) , ISBN (/wiki/ISBN_(identifier)) 978-1633232372 (/wiki/Special:BookSources/978-1633232372) ^ (#cite_ref-7) "SEAlang Dictionary" (http://www.sealang.net/khmer/search.pl?dict=khmer&hasFocus=orth&approx=&orth=%E1%9E%9F%E1%9F%86%E1%9E%96%E1%9E%8F%E1%9F%8B%E1%9E%95%E1%9E%B6%E1%9E%98%E1%9E%BD%E1%9E%84&phone=&def=&anon=on&matchEntry=any&matchLength=word&matchPosition=any&source=&ety=&pos=&usage=&subject=&useTags=1) . www.sealang.net . Retrieved 2023-10-11 . ^ (#cite_ref-8) "SEAlang Dictionary" (http://www.sealang.net/khmer/search.pl?dict=khmer&hasFocus=orth&approx=&orth=%E1%9E%9F%E1%9F%86%E1%9E%96%E1%9E%8F%E1%9F%8B%E1%9E%A0%E1%9E%BC%E1%9E%9B+&phone=&def=&anon=on&matchEntry=any&matchLength=word&matchPosition=any&source=&ety=&pos=&usage=&subject=&useTags=1) . www.sealang.net . Retrieved 2023-10-11 . External links [ edit ] Wikimedia Commons has media related to Sampot (https://commons.wikimedia.org/wiki/Category:Sampot) . https://web.archive.org/web/20070927205831/http://www.camnet.com.kh/cambodia.daily/selected_features/color.htm (https://web.archive.org/web/20070927205831/http://www.camnet.com.kh/cambodia.daily/selected_features/color.htm) http://www.bookrags.com/research/clothing-traditionalcambodia-ema-02/ (http://www.bookrags.com/research/clothing-traditionalcambodia-ema-02/) v t e Clothing (/wiki/Clothing) History (/wiki/History_of_clothing_and_textiles) Industry (/wiki/Clothing_industry) Technology (/wiki/Clothing_technology) Terminology (/wiki/Clothing_terminology) Timeline (/wiki/Timeline_of_clothing_and_textiles_technology) Headwear (/wiki/Headgear) Beret (/wiki/Beret) Cap (/wiki/Cap) baseball (/wiki/Baseball_cap) flat (/wiki/Flat_cap) knit (/wiki/Knit_cap) Hat (/wiki/Hat) boater (/wiki/Boater) bowler (/wiki/Bowler_hat) fedora (/wiki/Fedora) homburg (/wiki/Homburg_hat) 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English-American actress and singer (1988–2013) Jiah Khan Khan at the Stardust Awards (/wiki/Stardust_Awards) in January 2013 Born Nafisa Rizvi Khan ( 1988-02-20 ) 20 February 1988 New York City (/wiki/New_York_City) , U.S. Died 3 June 2013 (2013-06-03) (aged 25) Mumbai (/wiki/Mumbai) , Maharashtra, India Citizenship United Kingdom United States Occupations Actress singer Years active 2007–2010 Partner Sooraj Pancholi (/wiki/Sooraj_Pancholi) (2012–2013) Nafisa Rizvi Khan (20 February 1988 – 3 June 2013), better known as Jiah Khan , was a British-American actress and singer who worked in Hindi films (/wiki/Bollywood) . She appeared in three Hindi films (/wiki/Bollywood) from 2007 to 2010. [1] (#cite_note-1) Born in New York City to Indian parents, she was raised and educated in London. Khan aspired to pursue a career in acting and moved to Mumbai (/wiki/Mumbai) for a film career. She made her film debut in the 2007 Ram Gopal Verma (/wiki/Ram_Gopal_Verma) film Nishabd (/wiki/Nishabd) for which she was nominated for Filmfare Award for Best Female Debut (/wiki/Filmfare_Award_for_Best_Female_Debut) . She was later noted for portraying the supporting role of a modern, independent woman in Ghajini (/wiki/Ghajini_(2008_film)) , which was the highest-grossing Bollywood film (/wiki/List_of_highest-grossing_Bollywood_films) of 2008. After a two-year absence, she was reportedly praised for her comic role in the romantic comedy Housefull (/wiki/Housefull_(2010_film)) , which was the fifth highest-grossing Bollywood film of 2010. [2] (#cite_note-2) She was found hanging from a ceiling fan in the bedroom of her family residence in Juhu (/wiki/Juhu) , Mumbai (/wiki/Mumbai) . The Central Bureau of Investigation (/wiki/Central_Bureau_of_Investigation) (CBI) conducted a thorough investigation and heard her story at the Hon'ble Bombay High Court (/wiki/Bombay_High_Court) which concluded her death as suicide. Khan's mother continued to claim that Khan had been murdered by her boyfriend, actor Sooraj Pancholi (/wiki/Sooraj_Pancholi) , leading the prosecution to make a failed attempt to lay charges of murder and sexual assault in 2017. In 2018, a court in Mumbai charged Pancholi with abetting (/wiki/Aiding_and_abetting) . Early life [ edit ] Nafisa Khan was born on 20 February 1988 [3] (#cite_note-OnceNDTV-3) in New York City, United States, to Ali Rizvi Khan, an American businessman, and Rabiya Amin, a Hindi film (/wiki/Hindi_film) actress in the 1980s from Agra (/wiki/Agra) , Uttar Pradesh. [4] (#cite_note-BBC-4) [5] (#cite_note-5) Her father left the family when she was 2 years old. She has two younger sisters Kavita and Karishma. [6] (#cite_note-hindustantimes1-6) Her paternal aunts are Pakistani actresses Hina Rizvi (/wiki/Hina_Rizvi) , Sangeeta (/wiki/Sangeeta_(Pakistani_actress)) (Parveen Rizvi) and Kaveeta (/wiki/Kaveeta) (Nasreen Rizvi). [7] (#cite_note-7) Khan grew up in London [8] (#cite_note-8) where she completed her Edexcel (/wiki/Edexcel) O level (/wiki/O_level) and A level (/wiki/A_level) with five As, before moving to Mumbai (/wiki/Mumbai) to pursue a career in Bollywood (/wiki/Bollywood) . [9] (#cite_note-9) [10] (#cite_note-10) She was inspired to enter Bollywood after watching Ram Gopal Verma (/wiki/Ram_Gopal_Verma) 's former protege Urmila Matondkar (/wiki/Urmila_Matondkar) 's movie Rangeela (/wiki/Rangeela_(1995_film)) at the age of six. [11] (#cite_note-11) Khan studied at the Lee Strasberg Theatre and Film Institute (/wiki/Lee_Strasberg_Theatre_and_Film_Institute) in Manhattan (/wiki/Manhattan) , and she quit upon receiving a movie offer. [12] (#cite_note-12) She learned various dance forms, including belly dancing, kathak, lambada, jazz, samba and reggae. [13] (#cite_note-13) [14] (#cite_note-14) [15] (#cite_note-15) Career [ edit ] Khan at the launch of Nokia APP (/wiki/Nokia) in 2010. In 2004, at the age of 16, Khan was signed to act in Mukesh Bhatt (/wiki/Mukesh_Bhatt) 's Tumsa Nahin Dekha (/wiki/Tumsa_Nahin_Dekha_(2004_film)) but backed out when both she and the director felt the role was too mature for her; she was immediately replaced by Dia Mirza (/wiki/Dia_Mirza) . Three years later, in 2007, at the age of 18, [16] (#cite_note-16) Khan made her debut in Ram Gopal Verma (/wiki/Ram_Gopal_Verma) 's controversial romantic thriller Nishabd (/wiki/Nishabd) as Jia where she acted opposite Amitabh Bachchan (/wiki/Amitabh_Bachchan) . [17] (#cite_note-17) [18] (#cite_note-18) [19] (#cite_note-19) Despite the provocative content in the film, it performed poorly at the box office and earned mixed reviews from critics. [20] (#cite_note-20) Nonetheless, Khan received a mostly positive reception for her performance, with critics noting her confidence, attitude, and sex appeal. Raja Sen (/wiki/Raja_Sen) praised her portrayal of Jia, a seductive, free-spirited teenager, calling her performance "nuanced" and "impressive". [21] (#cite_note-21) Taran Adarsh (/wiki/Taran_Adarsh) agrees, saying that "Newcomer Jiah Khan is supremely confident. Loaded with attitude and sex appeal, the newcomer carries off her part with flourish. Her scenes with Bachchan are superb!" [22] (#cite_note-22) Rajeev Masand (/wiki/Rajeev_Masand) adds that she is "perfectly cast" for the film. [23] (#cite_note-23) She was also nominated for a Filmfare Best Female Debut Award (/wiki/Filmfare_Award_for_Best_Female_Debut) , [24] (#cite_note-24) however lost to Deepika Padukone (/wiki/Deepika_Padukone) for Om Shanti Om (/wiki/Om_Shanti_Om) . The following year, she appeared alongside Aamir Khan (/wiki/Aamir_Khan) and Asin (/wiki/Asin) in A.R. Murugadoss (/wiki/A.R._Murugadoss) 's psychological thriller Ghajini (/wiki/Ghajini_(2008_film)) , the Hindi remake of its namesake (/wiki/Ghajini_(2005_film)) . She played Sunita, a medical student who investigates the history of Sanjay Singhania, portrayed by Aamir Khan. The film gathered much appreciation from critics and went on to become the highest-grossing Bollywood film of 2008 (/wiki/List_of_highest-grossing_Bollywood_films) . [25] (#cite_note-25) Khan's performance attracted mixed reviews, with critics agreeing that her role was "sketchy". [26] (#cite_note-26) Despite this, Sukanya Verma compliments her performance, commenting that Khan "continues to strike as an exquisite and expressive actress." [27] (#cite_note-27) Khan with Shazahn Padamsee (/wiki/Shazahn_Padamsee) , Shailendra Singh (/wiki/Shailendra_Singh_(singer)) , Abhishek Kapoor (/wiki/Abhishek_Kapoor) and Sophie Choudry (/wiki/Sophie_Choudry) at DJ Magazine (/wiki/DJ_Magazine) launch in 2012. In 2010, Khan had almost completed the shooting of the dance film Chance Pe Dance (/wiki/Chance_Pe_Dance) opposite Shahid Kapoor (/wiki/Shahid_Kapoor) when the director Ken Ghosh (/wiki/Ken_Ghosh) asked her to leave the film, and she was replaced by Genelia D'Souza (/wiki/Genelia_D%27Souza) . The director said that she got over-friendly with Kapoor and was not doing her job well. However, after the release of the film, Khan said that she was asked to leave because the director had a bad eye on her. Kapoor said that he had no hand in the replacement of Khan, and got to know about the replacement when D'Souza came on the set for shooting. [28] (#cite_note-28) However, the film was a box office flop and Khan said that she was happy for leaving the film. That same year, she made her last film appearance in a supporting role as Devika K. Samtani, the ex-wife of Akshay Kumar (/wiki/Akshay_Kumar) 's character, in Sajid Khan (/wiki/Sajid_Khan) 's Housefull (/wiki/Housefull_(2010_film)) with an ensemble cast including Arjun Rampal (/wiki/Arjun_Rampal) , Riteish Deshmukh (/wiki/Riteish_Deshmukh) , Deepika Padukone (/wiki/Deepika_Padukone) and Lara Dutta (/wiki/Lara_Dutta) . Upon release, Housefull received negative reviews, though her performance was better received. Commercially the film did very well and became the highest grossing Bollywood film (/wiki/List_of_highest-grossing_Bollywood_films) of the year. [29] (#cite_note-29) [6] (#cite_note-hindustantimes1-6) [30] (#cite_note-30) Khan had signed a few movies including Udhas Singh's Aap Ka Saaya , in which she was supposed to play Ranbir Kapoor (/wiki/Ranbir_Kapoor) 's wife. Unfortunately, this film could not be completed. [31] (#cite_note-31) Death [ edit ] Khan reportedly died after hanging somewhere between 11:00 pm and 11:30 pm at her residence in Juhu (/wiki/Juhu) , Mumbai (/wiki/Mumbai) . [32] (#cite_note-32) Her mother and sister were not at home at the time. [33] (#cite_note-33) Khan in London in 2009. An autopsy was performed at JJ Hospital (/wiki/JJ_Hospital) in Byculla (/wiki/Byculla) . [34] (#cite_note-autogenerated1-34) Her body was then brought back to her residence around 7:00 am on Wednesday following the post-mortem (/wiki/Post-mortem) . [35] (#cite_note-indiatimes1-35) On the same day her Namaz-e-janaza (/wiki/Namaz-e-janaza) (funeral prayer) took place at Sonapur Kabar Walla Masjid and she was buried at Juhu Muslim cemetery (/wiki/Santacruz,_Mumbai) after Dhuhr (/wiki/Dhuhr) prayer as per Islamic (/wiki/Islamic) rites. Bollywood actors (/wiki/List_of_Indian_film_actors) in attendance included Aamir Khan (/wiki/Aamir_Khan) , Kiran Rao (/wiki/Kiran_Rao) , Riteish Deshmukh (/wiki/Riteish_Deshmukh) , Siddharth Mallya (/wiki/Siddharth_Mallya) , Sophie Choudry (/wiki/Sophie_Choudry) , Urvashi Dholakia (/wiki/Urvashi_Dholakia) , Prem Chopra (/wiki/Prem_Chopra) , Ranjeet (/wiki/Ranjeet) , Deepak Parashar (/wiki/Deepak_Parashar) , Sanjay Khan (/wiki/Sanjay_Khan) and Nagma (/wiki/Nagma) . [36] (#cite_note-36) Bollywood stars reacted with shock at her death. [37] (#cite_note-37) On 7 June 2013, a six-page hand-written note was found at her residence by her sister, allegedly addressed to Khan's boyfriend Sooraj Pancholi (/wiki/Sooraj_Pancholi) . The note reportedly indicates that Khan planned to end her life. A transcript mentioning a recent abortion was released by the family. [38] (#cite_note-38) [39] (#cite_note-39) However, her mother later said the purported events did not add up and that she suspected foul play. [40] (#cite_note-40) On 8 June 2013, Khan's memorial was held at Vile Parle Medical Club (/wiki/Vile_Parle) to pray for Khan and her family. Bollywood actors in attendance included Aamir Khan (/wiki/Aamir_Khan) , Deepika Padukone (/wiki/Deepika_Padukone) , Randhir Kapoor (/wiki/Randhir_Kapoor) , Prateik Babbar (/wiki/Prateik_Babbar) , Sanjay Kapoor (/wiki/Sanjay_Kapoor) , Shweta Pandit (/wiki/Shweta_Pandit) , Kiran Rao (/wiki/Kiran_Rao) , Urvashi Dholakia (/wiki/Urvashi_Dholakia) , Ranjeet (/wiki/Ranjeet) , Deepak Parashar (/wiki/Deepak_Parashar) , Sanjay Khan (/wiki/Sanjay_Khan) and Nagma (/wiki/Nagma_(actress)) . [41] (#cite_note-41) [42] (#cite_note-42) [43] (#cite_note-43) Pancholi, who lived with Khan, was taken into police custody during the investigation of her suicide on 10 June 2013. In her suicide note, Jiah mentioned that Sooraj used to physically abuse and torture her every time. [44] (#cite_note-44) The Bombay High Court (/wiki/Bombay_High_Court) granted him bail on 2 July 2013. [45] (#cite_note-45) On 3 July 2014, a year after her death, the Central Bureau of Investigation (/wiki/Central_Bureau_of_Investigation) (CBI) was ordered by the High Court to further investigate the death. [46] (#cite_note-46) [47] (#cite_note-47) The High Court held a hearing on the matter, starting on 7 June 2016, following the Supreme Court's call to expedite the process. [48] (#cite_note-48) On 1 August 2016 the CBI ruled out murder in the case. As per its investigations, the cause of Khan's death was 'suicide by hanging'. [49] (#cite_note-intoday.in-49) Khan's mother, Rabia, independently hired British forensics expert Jason Payne-James, who concluded in a 20 September 2016 report that "Khan's hanging was staged and the marks on her face and neck indicate it was not simply suicide." [49] (#cite_note-intoday.in-49) [50] (#cite_note-50) In January 2017 the prosecution requested that charges of sexual assault and murder be laid against Pancholi. [51] (#cite_note-51) On 31 January 2018 a court in Mumbai charged Pancholi with abetting Khan's suicide. [52] (#cite_note-52) [53] (#cite_note-53) The CBI submitted a list of 69 witnesses, including Khan's mother Rabia, the complainant, with the case to begin in March 2018. [54] (#cite_note-54) In April 2023, the CBI Special Court acquitted Pancholi due to lack of evidence. [55] (#cite_note-55) Tributes and documentaries [ edit ] An episode of the TV series Yeh Hai Aashiqui (/wiki/Yeh_Hai_Aashiqui) was loosely based on Jiah Khan's suicide, with Mihika Verma (/wiki/Mihika_Verma) and Rithvik Dhanjani (/wiki/Rithvik_Dhanjani) playing the central characters. [56] (#cite_note-56) On 11 January 2021, the BBC (/wiki/BBC) started airing a three-part documentary about Khan's death, Death in Bollywood . [57] (#cite_note-57) Filmography [ edit ] Year Film Role Notes 2007 Nishabd (/wiki/Nishabd) Jiah Nominated— Filmfare Award for Best Female Debut (/wiki/Filmfare_Award_for_Best_Female_Debut) Also playback singer for song "Take Lite" [3] (#cite_note-OnceNDTV-3) 2008 Ghajini (/wiki/Ghajini_(2008_film)) Sunita Kalantri [3] (#cite_note-OnceNDTV-3) 2010 Housefull (/wiki/Housefull_(2010_film)) Devika K. Samtani [58] (#cite_note-58) References [ edit ] ^ (#cite_ref-1) Jiah Khan all praise for Aamir (http://www.hindu.com/thehindu/holnus/009200811261660.htm) Archived (https://web.archive.org/web/20131106140401/http://www.hindu.com/thehindu/holnus/009200811261660.htm) 6 November 2013 at the Wayback Machine (/wiki/Wayback_Machine) The Hindu – 26 November 2008 ^ (#cite_ref-2) "Jiah Khan now Nafisa Khan" (http://indiatoday.intoday.in/story/jiah-kahn-new-name-nafisa-khan/1/224642.html) . India Today . 13 October 2012 . Retrieved 3 June 2013 . ^ Jump up to: a b c Roy, Gitanjali (4 June 2013). "Jiah Khan: Once Bollywood's brightest young thing" (https://web.archive.org/web/20130604120454/http://movies.ndtv.com/bollywood/jiah-khan-once-bollywood-s-brightest-young-thing-374950) . NDTV . Archived from the original (http://movies.ndtv.com/bollywood/jiah-khan-once-bollywood-s-brightest-young-thing-374950) on 4 June 2013. ^ (#cite_ref-BBC_4-0) "Bollywood actress Jiah Khan found dead in Mumbai" (https://www.bbc.co.uk/news/world-asia-india-22763342) . BBC News . 4 June 2013 . Retrieved 4 June 2013 . ^ (#cite_ref-5) Khalid Mohamed (17 February 2007). " (https://web.archive.org/web/20110510111950/http://www.bollywoodhungama.com/features/2007/02/17/2268/index.html) "I'm not related by blood to Tahir Hussain's family. I'm not his daughter. I don't even know how Aamir Khan looks like" – Jiah Khan" (https://web.archive.org/web/20110510111950/http://www.bollywoodhungama.com/features/2007/02/17/2268/index.html) . Bollywood Hungama (/wiki/Bollywood_Hungama) . 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Retrieved 11 June 2013 . ^ (#cite_ref-45) "HC grants Suraj Pancholi bail, downplays Jiah Khan letter" (http://www.dnaindia.com/entertainment/1855914/report-hc-grants-suraj-pancholi-bail-downplays-jiah-khan-letter) . DNA (/wiki/Daily_News_and_Analysis) . 2 July 2013 . Retrieved 9 July 2013 . ^ (#cite_ref-46) "Bombay High Court orders CBI to probe Jiah Khan Death Case" (http://news.biharprabha.com/2014/07/bombay-high-court-orders-cbi-to-probe-jiah-khan-death-case/) . news.biharprabha.com. Indo-Asian News Service . Retrieved 3 July 2014 . ^ (#cite_ref-47) "Bombay High Court orders CBI probe into Jiah Khan suicide case -" (https://web.archive.org/web/20140714181842/http://www.abplive.in/crime/2014/07/03/article355475.ece/Bombay-High-Court-orders-CBI-probe-into-Jiah-Khan-suicide-case) . Archived from the original (http://www.abplive.in/crime/2014/07/03/article355475.ece/Bombay-High-Court-orders-CBI-probe-into-Jiah-Khan-suicide-case) on 14 July 2014. ^ (#cite_ref-48) "Bombay HC to hear Jiah Khan suicide case on June 7" (https://web.archive.org/web/20170813105427/http://www.abplive.in/india-news/bombay-hc-to-hear-jiah-khan-suicide-case-on-june-7-343527) . ABP Live. 17 May 2016. Archived from the original (http://www.abplive.in/india-news/bombay-hc-to-hear-jiah-khan-suicide-case-on-june-7-343527) on 13 August 2017 . Retrieved 17 May 2016 . ^ Jump up to: a b "Jiah Khans death has a new twist: Timeline of the events after her death" (http://indiatoday.intoday.in/story/jiah-khan-death-timeline-all-you-need-to-know/1/768933.html) . Retrieved 15 August 2017 . ^ (#cite_ref-50) "Jiah Khan's hanging staged: UK expert" (http://timesofindia.indiatimes.com/city/mumbai/Jiah-Khans-hanging-staged-UK-expert/articleshow/54418518.cms) . The Times of India . 20 September 2016 . Retrieved 15 August 2017 . ^ (#cite_ref-51) Deshpande, Swati (28 January 2017). "Jiah Khan case: 'Why sudden demand to charge Sooraj with rape?' (http://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/Jiah-Khan-case-Why-sudden-demand-to-charge-Sooraj-with-rape/articleshow/52161274.cms) " (http://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/Jiah-Khan-case-Why-sudden-demand-to-charge-Sooraj-with-rape/articleshow/52161274.cms) . The Times of India (/wiki/The_Times_of_India) . Retrieved 15 August 2017 . ^ (#cite_ref-52) "Jiah Khan's ex-partner Sooraj Pancholi charged over death of Bollywood star" (https://www.theguardian.com/world/2018/jan/31/jiah-khans-ex-partner-sooraj-pancholi-charged-over-death-of-bollywood-star) . 31 January 2018. ^ (#cite_ref-53) "Sooraj Pancholi charged in Jiah Khan suicide: Father Aditya Pancholi 'happy' to start 'real fight' (https://www.hindustantimes.com/bollywood/sooraj-pancholi-charged-in-jiah-khan-suicide-father-aditya-pancholi-happy-to-start-real-fight/story-H4L0CNEmRflWzDmGUeFnfL.html) " (https://www.hindustantimes.com/bollywood/sooraj-pancholi-charged-in-jiah-khan-suicide-father-aditya-pancholi-happy-to-start-real-fight/story-H4L0CNEmRflWzDmGUeFnfL.html) . 31 January 2018. ^ (#cite_ref-54) "Trial against Sooraj Pancholi to start soon" (http://indianexpress.com/article/cities/mumbai/trial-against-sooraj-pancholi-to-start-soon/) . 1 March 2018. ^ (#cite_ref-55) Akhil Kumar (28 April 2023). "Actor Sooraj Pancholi Acquitted In Jiah Khan Death By Suicide Case" (https://www.ndtv.com/india-news/actor-sooraj-pancholi-acquitted-by-mumbai-court-in-jiah-khans-death-by-suicide-case-3987129) . ndtv.com . Retrieved 28 April 2023 . ^ (#cite_ref-56) "Telly show to recreate Jiah Khan's suicide?" (https://web.archive.org/web/20130926100738/http://articles.timesofindia.indiatimes.com/2013-09-24/news/42324801_1_jiah-khan-s-film-actress-suicide) . The Times of India (/wiki/The_Times_of_India) . 24 September 2013. Archived from the original (http://articles.timesofindia.indiatimes.com/2013-09-24/news/42324801_1_jiah-khan-s-film-actress-suicide) on 26 September 2013 . Retrieved 11 October 2013 . ^ (#cite_ref-57) "TV tonight: unsolved murders make a chilling, true-crime drama" (https://www.theguardian.com/tv-and-radio/2021/jan/11/tv-tonight-unsolved-murders-make-a-chilling-true-crime-drama) . The Guardian . 11 January 2021. ^ (#cite_ref-58) "Jiah Khan" (https://www.rottentomatoes.com/celebrity/jiah-khan) . Rotten Tomatoes (/wiki/Rotten_Tomatoes) . Retrieved 12 February 2023 . External links [ edit ] Wikimedia Commons has media related to Jiah Khan (https://commons.wikimedia.org/wiki/Category:Jiah_Khan) . Jiah Khan (https://www.imdb.com/name/nm2318317/) at IMDb (/wiki/IMDb_(identifier)) Portals (/wiki/Wikipedia:Contents/Portals) : Biography (/wiki/Portal:Biography) Bollywood (/wiki/Portal:Bollywood) Fashion (/wiki/Portal:Fashion) Authority control databases (/wiki/Help:Authority_control) International ISNI (https://isni.org/isni/0000000114527549) VIAF (https://viaf.org/viaf/96802876) WorldCat (https://id.oclc.org/worldcat/entity/E39PBJyMkmjphgjJ6c33trycfq) National France (https://catalogue.bnf.fr/ark:/12148/cb16263185s) BnF data (https://data.bnf.fr/ark:/12148/cb16263185s) Israel (http://olduli.nli.org.il/F/?func=find-b&local_base=NLX10&find_code=UID&request=987011561234605171) United States (https://id.loc.gov/authorities/no2009117988) People Deutsche Synchronkartei (https://www.synchronkartei.de/person/KBUFnFuBb) Trove (https://trove.nla.gov.au/people/1457424) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐z5dw5 Cached time: 20240720163740 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.636 seconds Real time usage: 0.816 seconds Preprocessor visited node count: 4453/1000000 Post‐expand include size: 112022/2097152 bytes Template argument size: 2634/2097152 bytes Highest expansion depth: 17/100 Expensive parser function count: 15/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 223177/5000000 bytes Lua time usage: 0.418/10.000 seconds Lua memory usage: 8211886/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 737.371 1 -total 41.09% 303.007 1 Template:Reflist 26.87% 198.137 39 Template:Cite_web 24.78% 182.723 1 Template:Infobox_person 10.27% 75.752 1 Template:Short_description 7.77% 57.309 18 Template:Cite_news 7.50% 55.311 1 Template:Authority_control 7.28% 53.712 4 Template:Br_separated_entries 6.18% 45.584 2 Template:Hlist 5.24% 38.644 18 Template:Main_other Saved in parser cache with key enwiki:pcache:idhash:9285904-0!canonical and timestamp 20240720163740 and revision id 1232154684. 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City that influences fashion trends Haute couture (/wiki/Haute_couture) fashion models (/wiki/Fashion_model) walk the runway (/wiki/Catwalk) during New York Fashion Week (/wiki/New_York_Fashion_Week) . A 2010 Milan Fashion Week (/wiki/Milan_Fashion_Week) event Berlin Fashion Week (/wiki/Berlin_Fashion_Week) in 2013. Berlin (/wiki/Berlin) has returned to being a fashion capital after the German reunification (/wiki/German_reunification) . [1] (#cite_note-1) A fashion capital is a city with major influence on the international fashion (/wiki/Fashion) scene, from history, heritage, designers, trends, and styles, to manufacturing innovation and retailing of fashion products, including events such as fashion weeks (/wiki/Fashion_week) , fashion council awards, and trade fairs (/wiki/Trade_fair) that together, generate significant economic output. [2] (#cite_note-IET-2) With exquisite fashion heritage, structured organization, and the most vaunted fashion designers (/wiki/Fashion_designer) of the 20th century, four cities are considered the main fashion capitals of the 21st century. Called the Big Four , the most prominent fashion capitals of the world—in chronological order of their eponymous fashion weeks, are New York City (/wiki/New_York_Fashion_Week) , London (/wiki/London_Fashion_Week) , Milan (/wiki/Milan_Fashion_Week) , and Paris (/wiki/Paris_Fashion_Week) , which receive the majority of press coverage. [3] (#cite_note-3) Fashion capitals offer exhibitions and are an opportunity for designers to show off their latest collections as well as for the fashion industry to interact and work together. Fashion has become a powerful platform for social change and advocacy which is why fashion capitals are so influential. Definition of a fashion capital [ edit ] A fashion capital assumes a leadership role in the design (/wiki/Fashion_designer) of fashion, the creation of styles, and the emergence of fashion trends. In addition, fashion capitals have a broad mix of business, artistic, entertainment, cultural, and leisure activities that are internationally recognized for each having a strongly unique identity. [4] (#cite_note-4) The fashion capital status is also linked to the city's domestic and international profile. [5] (#cite_note-Atlantic_Cities;_Florida_Johnson-5) Fashion capitals are part of a wider social construct scene, with design schools (/wiki/Design_school) , fashion magazines, and powerful market of affluent consumers of fashion. [5] (#cite_note-Atlantic_Cities;_Florida_Johnson-5) In the 16th century, Milan came to be regarded as the world's fashion capital. Nowadays, while the term fashion capital is still used to describe cities that hold fashion weeks (/wiki/Fashion_week) —most prominently, in chronological order, New York (/wiki/New_York_Fashion_Week) , London (/wiki/London_Fashion_Week) , Milan (/wiki/Milan_Fashion_Week) , and Paris (/wiki/Paris_Fashion_Week) [6] (#cite_note-DT_Armstrong-6) [7] (#cite_note-7) [8] (#cite_note-8) [9] (#cite_note-9) [10] (#cite_note-10) —, it is the economic development and stylistics created by a fashion capital city that matter to the showbiz (/wiki/Show_business) and fashion industry (/wiki/Fashion_industry) . [11] (#cite_note-11) [12] (#cite_note-12) Tokyo, with its fashion week (/wiki/Tokyo_Fashion_Week) , is also widely viewed as the fifth key city of fashion, and Asia's most important fashion capital. [13] (#cite_note-13) Also, nowadays, the term fashion capital includes other world cities known for hosting notable fashion events (/wiki/List_of_fashion_events) and have influential designers in the world of global fashion. [14] (#cite_note-14) History [ edit ] Historically, several cities have been, in turn, fashion capitals. During the Renaissance era (/wiki/Renaissance_era) , different city-states (/wiki/Italian_city-states) in what would become modern-day Italy (/wiki/Italy) were Europe's main trendsetters, [15] (#cite_note-15) due to the cultural power they exerted in that period. This included cities such as Florence (/wiki/Florence) , Milan (/wiki/Milan) , Rome (/wiki/Rome) , Naples (/wiki/Naples) , Genoa (/wiki/Genoa) , and Venice (/wiki/Venice) . [16] (#cite_note-16) Progressing into the late 16th century (/wiki/16th_century) , with the influence of the English royal court, London became a major city in European fashion. Similarly, due to the power of Spain during the period, the Spanish court started to influence fashion, making it a major centre. In the 17th century, as the Renaissance began to fade away, with the power of the French court under Louis XIV (/wiki/Louis_XIV) , Paris established itself as Europe's main fashion centre. [17] (#cite_note-17) During the 19th century, with the powerful British Empire (/wiki/British_Empire) and young Queen Victoria (/wiki/Queen_Victoria) on the throne (from 1837), London (/wiki/London) once again became a major fashion leader. [18] (#cite_note-V&A-18) However, it continued to look to Paris for stylistic inspiration, and the British 'father of haute couture' Charles Frederick Worth (/wiki/Charles_Frederick_Worth) relocated to Paris in 1846. He did this to perfect and commercialize his craft, holding the first fashion shows and launching the concept of fashion labels there. [19] (#cite_note-Vogue_WORTH-19) 20th century and beyond [ edit ] New York's Garment District (/wiki/Garment_District,_Manhattan) , 1955 During the Golden Twenties (/wiki/Golden_Twenties) , Berlin (/wiki/1920s_Berlin) was considered the vanguard fashion capital. [20] (#cite_note-20) Throughout the 20th century – but particularly after World War II (/wiki/World_War_II) – New York City rose in stature as a fashion capital, challenging the dominance of Paris with a different approach, especially in its development and popularization of sportswear (/wiki/Sportswear_(fashion)) as fashion during the 1940s and '50s. [21] (#cite_note-RCA-21) During the 1950s, Italy rose in prominence again. [22] (#cite_note-SCMP_Fearon-22) Florence re-emerged as a leading city in fashion, [23] (#cite_note-23) although focus shifted to Milan from the 1970s on as leading design houses moved to the city. [24] (#cite_note-Bruzzi_Gibson-24) "Swinging London," Carnaby Street (/wiki/Carnaby_Street) , c. 1966 In the 1980s, Tokyo (/wiki/Tokyo) claimed its place as a fashion capital with a new generation of avant-garde designers, including Issey Miyake (/wiki/Issey_Miyake) or Rei Kawakubo (/wiki/Rei_Kawakubo) of Comme des Garçons (/wiki/Comme_des_Gar%C3%A7ons) gaining worldwide attention, even if most of the city's newcomers gained prominence after showcasing their clothing in Paris. The fashion was radically different in its use of textiles and the way designers cut and draped. [25] (#cite_note-FIT-25) [26] (#cite_note-MET-26) Since then, new fashion hubs have emerged worldwide, and the old order has faced challenges from all corners of the globe, including Africa, South America, and Australasia. [27] (#cite_note-Indie-27) Since 2007, Berlin has again been highlighted as an increasingly important centre for global fashion trends. [28] (#cite_note-Fashion_United-28) [29] (#cite_note-DW_Scholz-29) A 2011 issue of Fashion Theory: Journal of Dress, Body and Culture (/wiki/Fashion_Theory) explored the move away from the traditional dominance of five key cities (New York, Paris, Milan, Tokyo, and London), with co-editor Lise Skov, suggesting what she described as a "poly-centric" fashion industry developing in the 21st century. [21] (#cite_note-RCA-21) In 2019, the Vienna (/wiki/Vienna) -based fashion intelligence firm IFDAQ (/w/index.php?title=IFDAQ&action=edit&redlink=1) under the leadership of fashion sociologist (/wiki/Sociologist) Professor Frédéric Godart (/wiki/Fr%C3%A9d%C3%A9ric_Godart) measured in a scientific approach the importance, influence, and impact of cities in the fashion industry with neural networks from a large data lake (/wiki/Data_lake) . The resulting IFDAQ Global Fashion and Luxury Cities Index [30] (#cite_note-30) revealed New York as the leading fashion capital, followed by Paris, Milan, and London. A further elaboration of the data in cooperation with the Institution of Engineering and Technology (/wiki/Institution_of_Engineering_and_Technology) visualized the impact of geopolitical events on the fashion capitals, including Brexit (/wiki/Brexit) and the US-China trade war (/wiki/China%E2%80%93United_States_trade_war) . [2] (#cite_note-IET-2) See also [ edit ] Fashion week (/wiki/Fashion_week) , for a partial list of cities with fashion weeks. Fashion tourism (/wiki/Fashion_tourism) French fashion (/wiki/French_fashion) , for more information on the fashion influence of Paris German fashion (/wiki/German_fashion) , for more information on the fashion influence of Berlin and Germany Italian fashion (/wiki/Italian_fashion) , for more information on the fashion influence of Italy. References [ edit ] ^ (#cite_ref-1) "Berlin as a fashion capital: the improbable rise" (https://www.fashionunited.co.uk/fashion-news/fashion/germanys-fashion-capital-the-improbable-rise-of-berlin-2012011713844) . Fashion United UK . Retrieved 24 May 2014 . ^ Jump up to: a b Heubl, Ben (14 February 2020). "Paris now leads Milan in EU fashion market" (https://eandt.theiet.org/content/articles/2020/02/paris-now-leads-milan-in-eu-fashion-market/) . IET (/wiki/Institution_of_Engineering_and_Technology) . Retrieved 29 March 2021 . ^ (#cite_ref-3) "The World's Most Fashionable Cities for 2021 | Fashion Week Online" (https://fashionweekonline.com/the-worlds-most-fashionable-cities-for-2021/) . fashionweekonline.com . 7 June 2021 . Retrieved 22 May 2022 . [ title missing ] ^ (#cite_ref-4) Gemperli, Natalia. "Fashion World Mapper: Your City on the Trend Radar". Master Thesis, University of the Arts Zürich. June 2010. ^ Jump up to: a b Florida, Richard (7 September 2012). "The World's Leading Cities for Fashion" (https://web.archive.org/web/20140515072125/http://www.theatlanticcities.com/jobs-and-economy/2012/09/worlds-leading-cities-fashion/3182/) . The Atlantic Cities . Archived from the original (http://www.theatlanticcities.com/jobs-and-economy/2012/09/worlds-leading-cities-fashion/3182/) on 15 May 2014 . Retrieved 2 May 2014 . ^ (#cite_ref-DT_Armstrong_6-0) Armstrong, Lisa (22 September 2013). "Is there a future for Fashion Week?" (https://web.archive.org/web/20140502190831/http://fashion.telegraph.co.uk/article/TMG10324975/Is-there-a-future-for-Fashion-Week.html) . Daily Telegraph . Archived from the original (http://fashion.telegraph.co.uk/article/TMG10324975/Is-there-a-future-for-Fashion-Week.html) on 2 May 2014 . Retrieved 2 May 2014 . ^ (#cite_ref-7) Bradford, Julie (2014). Fashion Journalism . Routledge. p. 129. ISBN (/wiki/ISBN_(identifier)) 9781136475368 . ^ (#cite_ref-8) Dillon, Susan (2011). The Fundamentals of Fashion Management . A&C Black. p. 115. ISBN (/wiki/ISBN_(identifier)) 9782940411580 . ^ (#cite_ref-9) Godart, Frédéric (2012). Unveiling Fashion: Business, Culture, and Identity in the Most Glamorous Industry . Palgrave Macmillan. p. 57. ISBN (/wiki/ISBN_(identifier)) 9781137000743 . ^ (#cite_ref-10) "The Big Four : Fashion Capitals of the World" (https://web.archive.org/web/20141030145348/http://www.fashiondays.com/the-daily-issue/the-big-four-fashion-capitals-of-the-world/) . Fashion Days. 5 February 2014. Archived from the original (http://www.fashiondays.com/the-daily-issue/the-big-four-fashion-capitals-of-the-world/) on 30 October 2014 . Retrieved 30 October 2014 . ^ (#cite_ref-11) "The Big Four: Fashion capitals of the World" (https://web.archive.org/web/20141030145348/http://www.fashiondays.com/the-daily-issue/the-big-four-fashion-capitals-of-the-world/) . Fashion Days. 5 February 2014. Archived from the original (http://www.fashiondays.com/the-daily-issue/the-big-four-fashion-capitals-of-the-world/) on 30 October 2014 . Retrieved 30 October 2014 . ^ (#cite_ref-12) Heyman, Stephen (1 October 2014). "The Figures Behind the Catwalk" (https://www.nytimes.com/2014/10/02/arts/international/the-figures-behind-the-catwalk.html?_r=0) . New York Times . ^ (#cite_ref-13) Wetherille, Kelly (20 May 2013). "Retail Meccas: Tokyo" (https://wwd.com/business-news/retail/retail-meccas-tokyo-6940315/) . WWD . Retrieved 18 December 2023 . ^ (#cite_ref-14) "Top fashion weeks around the world" (https://web.archive.org/web/20110105112324/http://www.independent.co.uk/life-style/fashion/2011-top-fashion-weeks-around-the-world-paris-new-york-milan-tokyo-2174288.html) . The Independent . 2 January 2011. Archived from the original (https://www.independent.co.uk/life-style/fashion/2011-top-fashion-weeks-around-the-world-paris-new-york-milan-tokyo-2174288.html) on 5 January 2011 . Retrieved 31 October 2014 . ^ (#cite_ref-15) "Renaissance Fashion" (http://www.renaissance-spell.com/Renaissance-Fashion.html) . Renaissance-spell.com. 9 May 2007 . Retrieved 7 February 2013 . ^ (#cite_ref-16) " (https://fashionhistory.fitnyc.edu/beauty-adorns-virtue-italian-renaissance-fashion/) "Beauty Adorns Virtue": Italian Renaissance Fashion | Fashion History Timeline" (https://fashionhistory.fitnyc.edu/beauty-adorns-virtue-italian-renaissance-fashion/) . fashionhistory.fitnyc.edu . Retrieved 4 October 2022 . ^ (#cite_ref-17) Godart, Frédéric (2014), "The power structure of the fashion industry: Fashion capitals, globalization and creativity" (https://web.archive.org/web/20160321022500/http://www.intellectbooks.co.uk/journals/view-Article,id=17684/) , International Journal of Fashion Studies , 1 (1): 39–57, doi (/wiki/Doi_(identifier)) : 10.1386/infs.1.1.39_1 (https://doi.org/10.1386%2Finfs.1.1.39_1) , archived from the original (http://www.intellectbooks.co.uk/journals/view-Article,id=17684/) on 21 March 2016 , retrieved 8 October 2015 ^ (#cite_ref-V&A_18-0) Johnstone, Lucy. "Corsets & Crinoline in Victorian Fashion" (http://www.vam.ac.uk/content/articles/c/corsets-and-crinolines-in-victorian-fashion/) . V&A . Retrieved 2 May 2014 . ^ (#cite_ref-Vogue_WORTH_19-0) staff. "Worth" (https://web.archive.org/web/20140502165833/http://www.vogue.com/voguepedia/Worth) . Vogue . Archived from the original (http://www.vogue.com/voguepedia/Worth) on 2 May 2014 . Retrieved 2 May 2014 . ^ (#cite_ref-20) Schreiber, Mathias (23 November 2012). "The Age of Excess: Berlin in the Golden Twenties" (http://www.spiegel.de/international/germany/spiegel-series-on-berlin-history-the-golden-twenties-a-866383.html) . Der Spiegel . SPIEGEL . Retrieved 3 June 2014 . ^ Jump up to: a b "Fashioning the City: Exploring Fashion Cultures, Structures and Systems" (http://fashioningthecity.wordpress.com/call-for-papers/) . Royal College of Art. 27 January 2012 . Retrieved 2 May 2014 . ^ (#cite_ref-SCMP_Fearon_22-0) Fearon, Francesca (31 March 2014). "Exhibition at London's V&A Museum to chronicle rise of Italian Fashion" (http://www.scmp.com/lifestyle/fashion-watches/article/1459392/exhibition-londons-va-museum-chronicle-rise-italian) . South China Morning Post . Retrieved 2 May 2014 . ^ (#cite_ref-23) "the birth of italian fashion" (https://web.archive.org/web/20111016202714/http://www.gbgiorgini.it/italianfashion.htm) . Gbgiorgini.it. Archived from the original (http://www.gbgiorgini.it/italianfashion.htm) on 16 October 2011 . Retrieved 7 February 2013 . ^ (#cite_ref-Bruzzi_Gibson_24-0) Bruzzi, Stella (/wiki/Stella_Bruzzi) ; et al. (2013). Fashion Cultures Revisited 2013 . Abingdon, Oxon: Routledge. p. 23. ISBN (/wiki/ISBN_(identifier)) 9781136474736 . ^ (#cite_ref-FIT_25-0) "Japan Fashion Now" (https://archive.today/20140502173617/http://fitnyc.edu/8726.asp) . 2010–11 . Fashion Institute of Technology. Archived from the original (http://fitnyc.edu/8726.asp) on 2 May 2014 . Retrieved 2 May 2014 . ^ (#cite_ref-MET_26-0) "Miyake, Kawakubo, and Yamamoto: Japanese Fashion in the Twentieth Century" (http://www.metmuseum.org/toah/hd/jafa/hd_jafa.htm) . Metrolopolitan Museum of Art . Retrieved 2 May 2014 . ^ (#cite_ref-Indie_27-0) staff (2 January 2011). "2011 top fashion weeks around the world: Paris, New York, Milan, Tokyo..." (https://web.archive.org/web/20110105112324/http://www.independent.co.uk/life-style/fashion/2011-top-fashion-weeks-around-the-world-paris-new-york-milan-tokyo-2174288.html) The Independent . Archived from the original (https://www.independent.co.uk/life-style/fashion/2011-top-fashion-weeks-around-the-world-paris-new-york-milan-tokyo-2174288.html) on 5 January 2011 . Retrieved 2 May 2014 . ^ (#cite_ref-Fashion_United_28-0) Staff (17 January 2012). "Germany's fashion capital: the improbable rise of Berlin" (https://www.fashionunited.co.uk/fashion-news/fashion/germanys-fashion-capital-the-improbable-rise-of-berlin-2012011713844) . 17 January 2012 . Fashion United . Retrieved 2 May 2014 . ^ (#cite_ref-DW_Scholz_29-0) Scholz, Kay-Alexander (18 January 2012). "The Phoenix of Fashion Rises in Berlin" (http://www.dw.de/the-phoenix-of-fashion-rises-in-berlin/a-15673135) . Die Welt . Retrieved 2 May 2014 . ^ (#cite_ref-30) http://research.ifdaq.com/cities/ (http://research.ifdaq.com/cities/) IFDAQ Global Fashion and Luxury Cities - Top 30 External links [ edit ] Global Fashion & Luxury Cities IPX Index (http://research.ifdaq.com/cities/) at IFDAQ v t e Fashion (/wiki/Fashion) articles Index of fashion articles (/wiki/Index_of_fashion_articles) General Environmental impact of fashion (/wiki/Environmental_impact_of_fashion) Fashion accessory (/wiki/Fashion_accessory) Fashion design (/wiki/Fashion_design) Fashion design copyright (/wiki/Fashion_design_copyright) Fashion matrix (/wiki/Fashion_matrix) Fashion museum (/wiki/Fashion_museum) Fashion plate (/wiki/Fashion_plate) Fashion tourism (/wiki/Fashion_tourism) Semiotics of fashion (/wiki/Semiotics_of_fashion) History (/wiki/History_of_fashion_design) History of clothing and textiles (/wiki/History_of_clothing_and_textiles) History of Western fashion (/wiki/History_of_Western_fashion) History of fashion design (/wiki/History_of_fashion_design) Timeline of clothing and textiles technology (/wiki/Timeline_of_clothing_and_textiles_technology) 19th century (/wiki/19th_century_in_fashion) 21st century (/wiki/21st_century_in_fashion) Events (/wiki/List_of_fashion_events) Fashion show (/wiki/Fashion_show) Fashion week (/wiki/Fashion_week) Industry (/wiki/Fashion_industry) Awards (/wiki/Category:Fashion_awards) Clothing industry (/wiki/Clothing_industry) Designer clothing (/wiki/Designer_clothing) Digital fashion (/wiki/Digital_fashion) Fashion blog (/wiki/Fashion_blog) Fashion capital Fashion entrepreneur (/wiki/Fashion_entrepreneur) Fashion editor (/wiki/Fashion_editor) Fashion forecasting (/wiki/Fashion_forecasting) Fashion illustration (/wiki/Fashion_illustration) Fashion influencer (/wiki/Fashion_influencer) Fashion journalism (/wiki/Fashion_journalism) Fashion law (/wiki/Fashion_law) Fashion photography (/wiki/Fashion_photography) Fashion merchandising (/wiki/Fashion_merchandising) Fast fashion (/wiki/Fast_fashion) in China (/wiki/Fast_fashion_in_China) Red carpet fashion (/wiki/Red_carpet_fashion) Social media in the fashion industry (/wiki/Social_media_in_the_fashion_industry) Sweatshop (/wiki/Sweatshop) Trickle-up fashion (/wiki/Trickle-up_fashion) Traditional clothing Ceremonial (/wiki/Ceremonial_dress) Court (/wiki/Court_dress) Diplomatic (/wiki/Diplomatic_uniform) Academic (/wiki/Academic_dress) Military (/wiki/Military_uniform) Full (/wiki/Full_dress_uniform) Mess (/wiki/Mess_dress_uniform) Service (/wiki/Service_dress_uniform) Sailor (/wiki/Sailor_suit) Combat (/wiki/Combat_uniform) Folk (/wiki/Folk_costume) Western dress codes (/wiki/Western_dress_codes) Formal (/wiki/Formal_wear) Morning dress (/wiki/Morning_dress) White tie (/wiki/White_tie) Ball gown (/wiki/Ball_gown) Semi-formal (/wiki/Semi-formal_wear) Black lounge suit (/wiki/Black_lounge_suit) Black tie (/wiki/Black_tie) Evening gown (/wiki/Evening_gown) Informal (/wiki/Informal_wear) Suit (/wiki/Suit) Cocktail dress (/wiki/Cocktail_dress) Pantsuit (/wiki/Pantsuit) Religious (/wiki/Religious_clothing) Christian (/wiki/Christian_clothing) Jewish (/wiki/Jewish_religious_clothing) Islamic (/wiki/Islamic_fashion) Modest fashion (/wiki/Modest_fashion) Casual (/wiki/Casual_wear) Smart casual (/wiki/Smart_casual) British country clothing (/wiki/British_country_clothing) Business casual (/wiki/Business_casual) Chic (/wiki/Chic) Cruise collection (/wiki/Cruise_collection) Preppy (/wiki/Preppy) Ivy League (/wiki/Ivy_League_(clothes)) Mod (/wiki/Mod_(subculture)) Sloane Ranger (/wiki/Sloane_Ranger) Teddy Boys (/wiki/Teddy_Boys) Young fogey (/wiki/Young_fogey) Street fashion (/wiki/Street_fashion) Streetwear (/wiki/Streetwear) Hip hop (/wiki/Hip_hop_fashion) Hippie (/wiki/Hippie#Art_and_fashion) Hipster (/wiki/Hipster_(contemporary_subculture)) Sportswear (/wiki/Sportswear) Athleisure (/wiki/Athleisure) Gorpcore (/wiki/Gorpcore) Sportswear fashion (/wiki/Sportswear_(fashion)) Surfwear (/wiki/Surfwear) Ghetto fabulous (/wiki/Ghetto_fabulous) Bling-bling (/wiki/Bling-bling) Vintage fashion (/wiki/Vintage_clothing) Alternative (/wiki/Alternative_fashion) Androgyny (/wiki/Androgyny_in_fashion) Bohemian (/wiki/Bohemian_style) Emo (/wiki/Emo) Fetish (/wiki/Fetish_fashion) Gothic (/wiki/Gothic_fashion) Lolita (/wiki/Lolita_fashion) Queer (/wiki/Queer_fashion) Skinhead (/wiki/Skinhead) Steampunk (/wiki/Steampunk_fashion) Thrift store chic (/wiki/Thrift_store_chic) Rocker (/wiki/Rocker_(subculture)) Greaser (/wiki/Greaser_(subculture)) Glam (/wiki/Glam_rock) Grunge (/wiki/Grunge_fashion) Heavy metal (/wiki/Heavy_metal_fashion) Punk (/wiki/Punk_fashion) Skate (/wiki/Skate_punk) Rockabilly (/wiki/Rockabilly) By country American fashion (/wiki/Fashion_in_the_United_States) Canadian fashion (/wiki/Canadian_fashion) Chinese fashion (/wiki/Chinese_fashion) Filipino fashion (/wiki/Fashion_in_the_Philippines) French fashion (/wiki/French_fashion) German fashion (/wiki/German_fashion) Indian fashion (/wiki/Fashion_in_India) Iranian fashion (/wiki/Fashion_in_Iran) Israeli fashion (/wiki/Israeli_fashion) Italian fashion (/wiki/Italian_fashion) History (/wiki/History_of_Italian_fashion) Japanese fashion (/wiki/Japanese_street_fashion) Nigerian fashion (/wiki/Fashion_in_Nigeria) Russian fashion (/wiki/Russian_fashion) South Korean fashion (/wiki/Fashion_in_South_Korea) Swedish fashion (/wiki/Swedish_fashion) Thai fashion (/wiki/History_of_Thai_clothing) Vietnamese clothing (/wiki/Vietnamese_clothing) Fashion activism (/wiki/Fashion_activism) Anti-fashion (/wiki/Anti-fashion) Anti-sweatshop movement (/wiki/Anti-sweatshop_movement) Circular fashion (/wiki/Circular_fashion) Sustainable fashion (/wiki/Sustainable_fashion) Slow fashion (/wiki/Slow_fashion) Trashion (/wiki/Trashion) Zero-waste fashion (/wiki/Zero-waste_fashion) See also Ballet and fashion (/wiki/Ballet_and_fashion) Capsule wardrobe (/wiki/Capsule_wardrobe) Chinoiserie in fashion (/wiki/Chinoiserie_in_fashion) Dress code (/wiki/Dress_code) Undress (/wiki/Undress_code) Music and fashion (/wiki/Music_and_fashion) Fashion victim (/wiki/Fashion_victim) Fashion portal (/wiki/Portal:Fashion) NewPP limit report Parsed by mw‐web.codfw.main‐58c7647fd9‐9bwn9 Cached time: 20240712163352 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.429 seconds Real time usage: 0.549 seconds Preprocessor visited node count: 1916/1000000 Post‐expand include size: 82519/2097152 bytes Template argument size: 1056/2097152 bytes Highest expansion depth: 13/100 Expensive parser function count: 3/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 114038/5000000 bytes Lua time usage: 0.270/10.000 seconds Lua memory usage: 5751202/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 459.539 1 -total 51.72% 237.664 1 Template:Reflist 26.45% 121.559 15 Template:Cite_web 21.67% 99.587 3 Template:Navbox 21.57% 99.137 1 Template:Fashion 13.89% 63.852 1 Template:Short_description 7.60% 34.912 2 Template:Pagetype 7.34% 33.714 1 Template:Title_missing 6.88% 31.639 1 Template:Fix 6.36% 29.219 8 Template:Cite_news Saved in parser cache with key enwiki:pcache:idhash:9315917-0!canonical and timestamp 20240712163352 and revision id 1226934663. 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Person who overindulges in a fad " Fashion victim " is a term claimed to have been coined by Oscar de la Renta (/wiki/Oscar_de_la_Renta) [1] (#cite_note-1) that is used to identify a person who is unable to identify commonly recognized boundaries of style (/wiki/Fashion) . Fashion victims are "victims" because they are vulnerable to faddishness (/wiki/Fad) and materialism (/wiki/Economic_materialism) , two of the widely recognized excesses of fashion, and consequently are at the mercy of society's prejudices or of the commercial interest of the fashion industry, or of both. According to Versace (/wiki/Versace) , "When a woman alters her look too much from season to season, she becomes a fashion victim." [2] (#cite_note-2) Faddishness [ edit ] A fad (/wiki/Fad) is an intense but short-lived fashion trend. Fads are also by their nature at the extreme range of currently acceptable style, which means they commonly cross the line from the sublime to the ridiculous. Fashion victims can be seen to have crossed this line. Materialism [ edit ] Keeping up with fashion is often very expensive. Expensive clothes signal that the wearers are financially successful, but they aren't necessarily " cool (/wiki/Cool_(aesthetic)) " or "fashionable". [3] (#cite_note-3) Designer labels have come to form an important part of identification of style and fashion. Many have become accustomed to the social acceptance that comes with wearing the right brands. The labels have in many cases migrated from the inside of a garment to the outside. Common examples of this type of branding are Adidas (/wiki/Adidas) , Kelme (/wiki/Kelme_(company)) , and other sports and leisurewear manufacturers. A fashion victim, able to recognise this phenomenon but unable to determine its boundary, may become a "walking billboard". [4] (#cite_note-4) Designer branding (/wiki/Brand) is sometimes associated with a higher quality of manufacture and a higher price. The ownership and display of such products of quality is frequently marketed (/wiki/Marketing) to suggest that the wearer will automatically embody a personal characteristic of quality by association. Designers have identified this and in some cases are able to exploit it to the extent that prices can be escalated to surprising proportions [ clarification needed ] without reference to the cost of manufacture. Extreme examples of this type of branding are found among accessory manufacturers such as Versace (/wiki/Gianni_Versace_S.p.A.) , Gucci (/wiki/Gucci) and Burberry (/wiki/Burberry) , scent manufacturers such as Chanel (/wiki/Chanel) and Guerlain (/wiki/Guerlain) and watch manufacturers such as Rolex (/wiki/Rolex) and Bulgari (/wiki/Bulgari) . [5] (#cite_note-5) Fashion victims, by their characteristic inability to recognize boundaries, may aspire to the extreme end of what is available, seeking expensive products (or copies of these products), believing that the outward display of such items will draw admiration in proportion to their actual or apparent cost. Because of this, "the term 'fashion victim' became the ultimate insult to the aspirational." [6] (#cite_note-6) In the Cameroonian artist Alioum Moussa's solo art exhibition Fashion Victims , he described fashion victimization as "global games of seduction". He states that such process drains people's unique identities and exacerbates the unfair dynamics created by capitalist interaction. [7] (#cite_note-7) See also [ edit ] Fast fashion (/wiki/Fast_fashion) References [ edit ] Look up fashion victim (https://en.wiktionary.org/wiki/fashion_victim) or fashionista (https://en.wiktionary.org/wiki/fashionista) in Wiktionary, the free dictionary. ^ (#cite_ref-1) According to John Fairchild, "[Oscar and I] were sitting at the Caravelle (/wiki/La_Caravelle_(New_York_City)) and Oscar looked around and said, 'These people are absolute hell (/wiki/Hell) , they look like fashion (/wiki/Fashion) victims,' & that was the first time anyone had used that expression." Coleridge, Nicholas (1989). The Fashion Conspiracy . HarperCollins. 0060916362. ^ (#cite_ref-2) Agins, Teri (2000). The End of Fashion: How Marketing Changed the Clothing Business Forever . Harper Paperbacks. p. 116. ISBN (/wiki/ISBN_(identifier)) 0060958200 . ^ (#cite_ref-3) Michelle Lee notes that in order to appear casually well-dressed, shoppers pay extra for designers to "sew on decorative patches, slash gaping holes into the knees of jeans and fray the hems." Lee (2003). Fashion Victim: Our Love-Hate Relationship with Dressing, Shopping, and the Cost of Style . Broadway. 0767910486. ^ (#cite_ref-4) Agins (2000). The End of Fashion: How Marketing Changed the Clothing Business Forever . p. 118. ^ (#cite_ref-5) Arnold, Rebecca (2001). Fashion, Desire, and Anxiety . I B Tauris & Co Ltd. p. 43. ISBN (/wiki/ISBN_(identifier)) 1860645550 . ^ (#cite_ref-6) Arnold (2001). Fashion, Desire, and Anxiety . p. 10. ^ (#cite_ref-7) Gilvin, Amanda (2015). "Games of Seduction and Games of History: Alioum Moussa's Fashion Victims in Niamey, Niger" (https://www.cambridge.org/core/journals/african-studies-review/article/abs/games-of-seduction-and-games-of-history-alioum-moussas-fashion-victims-in-niamey-niger/916543E3DA261E2535917556813E4D14) . African Studies Review . 58 (1): 55–89. doi (/wiki/Doi_(identifier)) : 10.1017/asr.2015.4 (https://doi.org/10.1017%2Fasr.2015.4) . ISSN (/wiki/ISSN_(identifier)) 0002-0206 (https://www.worldcat.org/issn/0002-0206) . S2CID (/wiki/S2CID_(identifier)) 145750002 (https://api.semanticscholar.org/CorpusID:145750002) . Further reading [ edit ] Fashion Victims (https://web.archive.org/web/20140909004935/http://www.labourbehindthelabel.org/news/item/586-fashion-victims-the-true-cost-of-cheap-clothes-at-tesco-asda-and-primark) : The True Cost of Cheap Clothes at Primark (/wiki/Primark) , Asda (/wiki/Asda) and Tesco (/wiki/Tesco) (2006) in conjunction with War On Want (/wiki/War_On_Want) and Alternative Movement for Resources and Freedom Society (AMRF). v t e Fashion (/wiki/Fashion) articles Index of fashion articles (/wiki/Index_of_fashion_articles) General Environmental impact of fashion (/wiki/Environmental_impact_of_fashion) Fashion accessory (/wiki/Fashion_accessory) Fashion design (/wiki/Fashion_design) Fashion design copyright (/wiki/Fashion_design_copyright) Fashion matrix (/wiki/Fashion_matrix) Fashion museum (/wiki/Fashion_museum) Fashion plate (/wiki/Fashion_plate) Fashion tourism (/wiki/Fashion_tourism) Semiotics of fashion (/wiki/Semiotics_of_fashion) History (/wiki/History_of_fashion_design) History of clothing and textiles (/wiki/History_of_clothing_and_textiles) History of Western fashion (/wiki/History_of_Western_fashion) History of fashion design (/wiki/History_of_fashion_design) Timeline of clothing and textiles technology (/wiki/Timeline_of_clothing_and_textiles_technology) 19th century (/wiki/19th_century_in_fashion) 21st century (/wiki/21st_century_in_fashion) Events (/wiki/List_of_fashion_events) Fashion show (/wiki/Fashion_show) Fashion week (/wiki/Fashion_week) Industry (/wiki/Fashion_industry) Awards (/wiki/Category:Fashion_awards) Clothing industry (/wiki/Clothing_industry) Designer clothing (/wiki/Designer_clothing) Digital fashion (/wiki/Digital_fashion) Fashion blog (/wiki/Fashion_blog) Fashion capital (/wiki/Fashion_capital) Fashion entrepreneur (/wiki/Fashion_entrepreneur) Fashion editor (/wiki/Fashion_editor) Fashion forecasting (/wiki/Fashion_forecasting) Fashion illustration (/wiki/Fashion_illustration) Fashion influencer (/wiki/Fashion_influencer) Fashion journalism (/wiki/Fashion_journalism) Fashion law (/wiki/Fashion_law) Fashion photography (/wiki/Fashion_photography) Fashion merchandising (/wiki/Fashion_merchandising) Fast fashion (/wiki/Fast_fashion) in China (/wiki/Fast_fashion_in_China) Red carpet fashion (/wiki/Red_carpet_fashion) Social media in the fashion industry (/wiki/Social_media_in_the_fashion_industry) Sweatshop (/wiki/Sweatshop) Trickle-up fashion (/wiki/Trickle-up_fashion) Traditional clothing Ceremonial (/wiki/Ceremonial_dress) Court (/wiki/Court_dress) Diplomatic (/wiki/Diplomatic_uniform) Academic (/wiki/Academic_dress) Military (/wiki/Military_uniform) Full (/wiki/Full_dress_uniform) Mess (/wiki/Mess_dress_uniform) Service (/wiki/Service_dress_uniform) Sailor (/wiki/Sailor_suit) Combat (/wiki/Combat_uniform) Folk (/wiki/Folk_costume) Western dress codes (/wiki/Western_dress_codes) Formal (/wiki/Formal_wear) Morning dress (/wiki/Morning_dress) White tie (/wiki/White_tie) Ball gown (/wiki/Ball_gown) Semi-formal (/wiki/Semi-formal_wear) Black lounge suit (/wiki/Black_lounge_suit) Black tie (/wiki/Black_tie) Evening gown (/wiki/Evening_gown) Informal (/wiki/Informal_wear) Suit (/wiki/Suit) Cocktail dress (/wiki/Cocktail_dress) Pantsuit (/wiki/Pantsuit) Religious (/wiki/Religious_clothing) Christian (/wiki/Christian_clothing) Jewish (/wiki/Jewish_religious_clothing) Islamic (/wiki/Islamic_fashion) Modest fashion (/wiki/Modest_fashion) Casual (/wiki/Casual_wear) Smart casual (/wiki/Smart_casual) British country clothing (/wiki/British_country_clothing) Business casual (/wiki/Business_casual) Chic (/wiki/Chic) Cruise collection (/wiki/Cruise_collection) Preppy (/wiki/Preppy) Ivy League (/wiki/Ivy_League_(clothes)) Mod (/wiki/Mod_(subculture)) Sloane Ranger (/wiki/Sloane_Ranger) Teddy Boys (/wiki/Teddy_Boys) Young fogey (/wiki/Young_fogey) Street fashion (/wiki/Street_fashion) Streetwear (/wiki/Streetwear) Hip hop (/wiki/Hip_hop_fashion) Hippie (/wiki/Hippie#Art_and_fashion) Hipster (/wiki/Hipster_(contemporary_subculture)) Sportswear (/wiki/Sportswear) Athleisure (/wiki/Athleisure) Gorpcore (/wiki/Gorpcore) Sportswear fashion (/wiki/Sportswear_(fashion)) Surfwear (/wiki/Surfwear) Ghetto fabulous (/wiki/Ghetto_fabulous) Bling-bling (/wiki/Bling-bling) Vintage fashion (/wiki/Vintage_clothing) Alternative (/wiki/Alternative_fashion) Androgyny (/wiki/Androgyny_in_fashion) Bohemian (/wiki/Bohemian_style) Emo (/wiki/Emo) Fetish (/wiki/Fetish_fashion) Gothic (/wiki/Gothic_fashion) Lolita (/wiki/Lolita_fashion) Queer (/wiki/Queer_fashion) Skinhead (/wiki/Skinhead) Steampunk (/wiki/Steampunk_fashion) Thrift store chic (/wiki/Thrift_store_chic) Rocker (/wiki/Rocker_(subculture)) Greaser (/wiki/Greaser_(subculture)) Glam (/wiki/Glam_rock) Grunge (/wiki/Grunge_fashion) Heavy metal (/wiki/Heavy_metal_fashion) Punk (/wiki/Punk_fashion) Skate (/wiki/Skate_punk) Rockabilly (/wiki/Rockabilly) By country American fashion (/wiki/Fashion_in_the_United_States) Canadian fashion (/wiki/Canadian_fashion) Chinese fashion (/wiki/Chinese_fashion) Filipino fashion (/wiki/Fashion_in_the_Philippines) French fashion (/wiki/French_fashion) German fashion (/wiki/German_fashion) Indian fashion (/wiki/Fashion_in_India) Iranian fashion (/wiki/Fashion_in_Iran) Israeli fashion (/wiki/Israeli_fashion) Italian fashion (/wiki/Italian_fashion) History (/wiki/History_of_Italian_fashion) Japanese fashion (/wiki/Japanese_street_fashion) Nigerian fashion (/wiki/Fashion_in_Nigeria) Russian fashion (/wiki/Russian_fashion) South Korean fashion (/wiki/Fashion_in_South_Korea) Swedish fashion (/wiki/Swedish_fashion) Thai fashion (/wiki/History_of_Thai_clothing) Vietnamese clothing (/wiki/Vietnamese_clothing) Fashion activism (/wiki/Fashion_activism) Anti-fashion (/wiki/Anti-fashion) Anti-sweatshop movement (/wiki/Anti-sweatshop_movement) Circular fashion (/wiki/Circular_fashion) Sustainable fashion (/wiki/Sustainable_fashion) Slow fashion (/wiki/Slow_fashion) Trashion (/wiki/Trashion) Zero-waste fashion (/wiki/Zero-waste_fashion) See also Ballet and fashion (/wiki/Ballet_and_fashion) Capsule wardrobe (/wiki/Capsule_wardrobe) Chinoiserie in fashion (/wiki/Chinoiserie_in_fashion) Dress code (/wiki/Dress_code) Undress (/wiki/Undress_code) Music and fashion (/wiki/Music_and_fashion) Fashion victim Fashion portal (/wiki/Portal:Fashion) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐v4rvk Cached time: 20240720165728 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.303 seconds Real time usage: 0.395 seconds Preprocessor visited node count: 927/1000000 Post‐expand include size: 46585/2097152 bytes Template argument size: 1080/2097152 bytes Highest expansion depth: 12/100 Expensive parser function count: 3/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 35540/5000000 bytes Lua time usage: 0.192/10.000 seconds Lua memory usage: 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Style of footwear For the album, see Go-Go Boots (album) (/wiki/Go-Go_Boots_(album)) . Go-go boots precursor by Andre Courrèges, 1965 [1] (#cite_note-vam-1) Early 1970s white vinyl go-go boots Go-go boots are a low-heeled style of women's fashion boot (/wiki/Boot) first introduced in the mid-1960s. The original go-go boots, as defined by André Courrèges (/wiki/Andr%C3%A9_Courr%C3%A8ges) in 1964, were white, low-heeled, and mid-calf in height, [2] (#cite_note-lok-2) a specific style which is sometimes called the Courrèges boot . [3] (#cite_note-3) [4] (#cite_note-ohara-4) Since then, the term go-go boot has come to include the knee-high, square-toed boots with block heels that were very popular in the 1960s and 1970s; as well as a number of variations including kitten heeled (/wiki/Kitten_heel) versions and colours other than white. [5] (#cite_note-erika-5) [6] (#cite_note-minimod-6) Etymology [ edit ] The term go-go is derived from the French (/wiki/French_language) expression à gogo (https://en.wiktionary.org/wiki/%C3%A0_gogo#French) , meaning "in abundance, galore", [7] (#cite_note-mw-7) which is in turn derived from the ancient French word la gogue for "joy, happiness". [8] (#cite_note-robert-8) The term "go-go" has also been explained as a 1964 back-formation (/wiki/Back-formation) of the 1962 slang term "go", meaning something that was "all the rage"; the term " go-go dancer (/wiki/Go-go_dancing) " first appeared in print in 1965. [9] (#cite_note-9) The go-go boot is presumed to have been named after the dance style. [5] (#cite_note-erika-5) [10] (#cite_note-step-10) 1960s [ edit ] Fashion boots were revived in the early 1960s by designers including Beth Levine (/wiki/Beth_Levine_(fashion_designer)) , although at first they featured fashionable high heels such as the stiletto (/wiki/Stiletto_heel) and kitten heels (/wiki/Kitten_heel) . [11] (#cite_note-bethlevine-11) Golo (/wiki/Golo_Footwear) is probably best recognized for the invention of the go-go boot in 1964 [12] (#cite_note-12) which was proudly worn by Barbra Streisand and photographed by Richard Avedon (/wiki/Richard_Avedon) in the August 1965 issue of Vogue (/wiki/Vogue_(magazine)) . The earliest go-go boots were mid-calf, white and flat-heeled, as seen in the work of the designer André Courrèges (/wiki/Andr%C3%A9_Courr%C3%A8ges) , who is sometimes credited with creating the style. [10] (#cite_note-step-10) [13] (#cite_note-solemates-13) The simple minimalism of the Courrèges boot was easily and widely reproduced for the mass market. [1] (#cite_note-vam-1) [4] (#cite_note-ohara-4) Courrèges boots provided the foundation for the development of the go-go boot, which increasingly came higher up the leg and was made in alternative colours. [5] (#cite_note-erika-5) [13] (#cite_note-solemates-13) While remaining low-ish, the heel also became higher and chunkier. [5] (#cite_note-erika-5) The earliest Courrèges boots were made of leather, such as kidskin (/wiki/Kidskin) or patent leather (/wiki/Patent_leather) , [4] (#cite_note-ohara-4) but many of the subsequent versions and copies were made in PVC (/wiki/PVC) , vinyl (/wiki/Vinyl_group) , and other plastics. [10] (#cite_note-step-10) Go-go boots as worn in London in 1969/1970 In 1966, the song " These Boots Are Made for Walkin' (/wiki/These_Boots_Are_Made_for_Walkin%27) " was released and performed by a go-go boot wearing Nancy Sinatra (/wiki/Nancy_Sinatra) , who is credited with further popularising the boot. [13] (#cite_note-solemates-13) Tim Gunn (/wiki/Tim_Gunn) suggests that Sinatra helped establish the boot as "a symbol of female power". [14] (#cite_note-gunn-14) Female dancers on the television shows Hullabaloo (/wiki/Hullabaloo_(TV_series)) and Shindig! (/wiki/Shindig!) also wore the short, white boots. [15] (#cite_note-15) This led to the boots sometimes being called 'hullabaloo boots,' as in an advertisement run in American newspapers in January 1966 for hullabaloo boots with "kooky heels and zipper backs" for the "Go-Go Getter". [16] (#cite_note-16) Post-1960s [ edit ] Pair of black go-go boots, mid-1990s In the mid-1990s, as part of a general revival of 1960s fashions, go-go boots came back into style. [17] (#cite_note-17) In October 2022, Florida Governor (/wiki/List_of_governors_of_Florida) Ron DeSantis (/wiki/Ron_DeSantis) drew media attention for wearing footwear that resembled white go-go boots while touring areas of Florida (/wiki/Florida) devastated by Hurricane Ian (/wiki/Hurricane_Ian) , a Category 5 storm (/wiki/List_of_Category_5_Atlantic_hurricanes) . [18] (#cite_note-18) References [ edit ] ^ Jump up to: a b "Pair of boots by André Courrèges, 1965" (https://collections.vam.ac.uk/item/O135020/pair-of-boots-andre-courreges/) . Search The Collections . V&A Museum. 1965 . Retrieved 17 March 2015 . ^ (#cite_ref-lok_2-0) O'Keeffe, Linda (2014). "The Shoe that left an Imprint: The Go-Go Boot" (https://books.google.com/books?id=gsBCn7K-7tcC&pg=PA338) . Shoes: A Celebration of Pumps, Sandals, Slippers & More . Workman Publishing. pp. 338–339. ISBN (/wiki/ISBN_(identifier)) 978-0761173434 . ^ (#cite_ref-3) Cumming, Valerie; Cunnington, C.W.; Cunnington, P.E. (2010). The dictionary of fashion history . Oxford: Berg. p. 108. ISBN (/wiki/ISBN_(identifier)) 9781847887382 . ^ Jump up to: a b c O'Hara, Georgina (1986). The encyclopaedia of fashion . New York: H.N. Abrams. p. 79 (https://archive.org/details/encyclopediaoffa00ohar/page/79) . ISBN (/wiki/ISBN_(identifier)) 9780810908826 . ^ Jump up to: a b c d Stalder, Erika (2008). Fashion 101: a crash course in clothing . San Francisco, CA: Zest Books. p. 89. ISBN (/wiki/ISBN_(identifier)) 9780547946931 . ^ (#cite_ref-minimod_6-0) Bleikorn, Samantha (2002). The Mini-Mod Sixties Book . San Francisco, CA: Last Gasp. p. 78. ISBN (/wiki/ISBN_(identifier)) 9780867196429 . ^ (#cite_ref-mw_7-0) "gogo" (http://www.merriam-webster.com/dictionary/gogo) . Merriam-Webster. 2007-04-25 . Retrieved 2009-12-06 . ^ (#cite_ref-robert_8-0) Le Petit Robert: GOGO (À), 1440; de l'a. fr. gogue "réjouissance" ^ (#cite_ref-9) " (http://www.etymonline.com/index.php?term=go-go) Online Etymology Dictionary : go-go" (http://www.etymonline.com/index.php?term=go-go) . Etymonline.com . Retrieved 2009-12-06 . ^ Jump up to: a b c Pedersen, Stephanie (2005). Shoes : what every woman should know . Newton Abbot: David and Charles. ISBN (/wiki/ISBN_(identifier)) 9780715322345 . ^ (#cite_ref-bethlevine_11-0) "Beth Levine. Evening boot, c.1962" (http://www.metmuseum.org/collection/the-collection-online/search/157034) . The Collection Online . Metropolitan Museum of Art . Retrieved 29 January 2015 . ^ (#cite_ref-12) Nostalgia in Vogue by Eve MacSweeny, 2000 ^ Jump up to: a b c "Solemates: A Century in Shoes: 1960" (http://www.centuryinshoes.com/decades/1960/1960_02.html) . Centuryinshoes.com . Retrieved 2015-01-29 . ^ (#cite_ref-gunn_14-0) Gunn, Tim; Calhoun, Ada (2012). Tim Gunn's fashion bible : the fascinating history of everything in your closet (1st Gallery Books hardcover ed.). New York: Gallery Books. p. 199 (https://archive.org/details/timgunnsfashionb0000gunn/page/199) . ISBN (/wiki/ISBN_(identifier)) 9781451643862 . ^ (#cite_ref-15) Douglas, Susan J. (2010). "Why the Shirelles Mattered" (https://books.google.com/books?id=2A93c_JS6sQC&pg=PA277) . In Forman-Brunell, Miriam; Paris, Leslie (eds.). The Girls' History and Culture Reader. ; The Twentieth Century . Urbana: University of Illinois Press. ISBN (/wiki/ISBN_(identifier)) 9780252077685 . ^ (#cite_ref-16) "Marshmallow Leather-Like Hullabaloo Boots" (https://news.google.com/newspapers?nid=1955&dat=19660118&id=ohwrAAAAIBAJ&pg=3400,2117485) . Reading Eagle . 18 January 1966 . Retrieved 29 January 2015 . ^ (#cite_ref-17) "Fashions: Year In Review 1995" (http://www.britannica.com/EBchecked/topic/171386/Fashions-Year-In-Review-1995) . Retrieved March 17, 2015 . ^ (#cite_ref-18) "Late Night Rips Into Ron DeSantis for His 'Go-Go' Boots" (https://www.nytimes.com/2022/10/06/arts/television/late-night-ron-desantis-boots.html) . The New York Times (/wiki/The_New_York_Times) . October 6, 2022 . Retrieved 14 March 2024 . "You're not allowed to pass a 'Don't say gay' bill then show up in public dressed like Nancy Sinatra," Jimmy Kimmel said. External links [ edit ] The dictionary definition of go-go at Wiktionary Wikimedia Commons has media related to Go-go boots (https://commons.wikimedia.org/wiki/Category:Go-go_boots) . 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Illustration of popular styles of clothing Fashion plate, 1860 V&A Museum no. E.267-1942 1942 fashion plate from Argentina. A fashion plate is an illustration (a plate (/wiki/Lithography#The_modern_process) ) demonstrating the highlights of fashionable (/wiki/Fashion) styles of clothing (/wiki/Clothing) . Traditionally they are rendered through etching, line engraving, or lithograph and then colored by hand. To quote historian James Laver (/wiki/James_Laver) , the best of them tend to "reach a very high degree of aesthetic value." [1] (#cite_note-1) Fashion plates do not usually depict specific people. Instead they take the form of generalized portraits, which simply dictate the style of clothes that a tailor, dressmaker, or store could make or sell, or demonstrate how different materials could be made up into clothes. The majority can be found in ladies' fashion magazines which began to appear during the last decades of the eighteenth century. Used figuratively, as is often the case, the term refers to a person whose dress conforms to the latest fashions. Fashion plates are frequently used as primary source material for the study of historical fashions, although commentators warn that as they were high-end aspirational catalogues it should not be assumed that the majority of people dressed in the same way expressed by a plate. A more accurate way to use fashion plates for study is to treat them like a modern high-end fashion magazine or designer's shop window with only a few people wearing such luxury items. [2] (#cite_note-2) History [ edit ] Prior to the French Revolution, fashion plates were rare, and usually small black and white illustrations in annual diaries, known as pocket-books. [3] (#cite_note-3) This method of disseminating fashionable styles was mostly popular during the 19th and early 20th centuries. Their origins, however, date back to the 16th century, even if the history may not be continuous. [4] (#cite_note-Origin_and_Early_History_of_the_Fashion_Plate-4) Portraits (/wiki/Portraits) , especially royal portraits, served as the base for the future of fashion plates, as they offered a visual cue as to the popular styles, fabrics and embellishments of the time. Dolls (/wiki/Fashion_doll) were also popular prior to fashion plates. In fact, Marie Antoinette (/wiki/Marie_Antoinette) 's dressmaker, Rose Bertin (/wiki/Rose_Bertin) , was known to tour the continent every year with berlines containing dolls outfitted with the latest fashionable styles. [5] (#cite_note-Costume_&_Fashion-5) 1830s fashion plate Fashion plates were first circulated at the end of the 18th century in England, rather than in France, as would be expected. [5] (#cite_note-Costume_&_Fashion-5) The Lady's Magazine (/wiki/The_Lady%27s_Magazine) , one of the first distributors of fashion plates in magazines (/wiki/Magazines) , began publishing in 1770, spreading the trend across Europe. [6] (#cite_note-:2-6) The plates were not decorated with colour shades until 1790. [7] (#cite_note-:1-7) Prior to 1790, dressmakers would add colour to the fashion-plates themselves in order to ehance the designs and entice customers to order garments. [7] (#cite_note-:1-7) In France, La Galerie des Modes was a pioneer in fashion plate publication. [8] (#cite_note-8) Encompassing over 400 prints, this series was issued sporadically by the print merchants Jacques Esnauts (or Esnault) and Michel Rapilly between the years 1778 and 1787 and paved the way for the distribution of popular magazines such as the Magazin des Modes Nouvelles Françaises et Anglaises . [5] (#cite_note-Costume_&_Fashion-5) As technology improved, speed of communication and transportation increased, thus allowing consumers access to foreign fashions, accessories and hairstyles (/wiki/Hairstyles) . The introduction of an educated middle class also allowed for a more fashion-conscious population that became devoted to fashion plate publications. Until the 1820s, fashion plate engravings were made on copper printing plates, which limited the number of prints that could be taken due to the softness of the metal. [6] (#cite_note-:2-6) Fashion plate, Godey's Lady's Book, January 1837 By the 1830s, U.S. magazines began to include their own fashion plates, although these were often derived from imported French originals. The most popular magazines of the antebellum period, including Godey's Lady's Book (/wiki/Godey%27s_Lady%27s_Book) and its competitors, particularly Graham's Magazine (/wiki/Graham%27s_Magazine) and Peterson's Magazine (/wiki/Peterson%27s_Magazine) , boasted about the quality of their fashion plates. Publisher Louis Antoine Godey (/wiki/Louis_Antoine_Godey) claimed in January 1857 that his fashion plates - hand-colored by a corps of 150 women colorists - "surpass all others." [9] (#cite_note-9) [10] (#cite_note-:0-10) Godey also made sure his readers were aware of the considerable cost of his fashion plates, and indeed, some readers removed them from the magazine and displayed them as art. [10] (#cite_note-:0-10) It was a common assumption in the antebellum United States that "Character is displayed, yes! moral taste and goodness, or their perversion, are indicated in dress." [11] (#cite_note-11) Some influential Americans, including Godey's editor Sarah Josepha Hale (/wiki/Sarah_Josepha_Hale) , expressed concern about the effect of luxurious European fashions on the republican virtues of their countrywomen, and sought to promote simplicity and refinement as the defining trait of American style. However, the subscriber-driven and increasingly competitive market for periodicals meant that fashion plates would become increasingly common throughout the 1840s. To resolve this political problem, periodical editors increasingly touted their fashion plates as original creations, citing New York City or Philadelphia, the fashion capitals of the nation, as inspiration. [10] (#cite_note-:0-10) The increasing popularity of photography (/wiki/Photography) in the early 20th century spelled the end for fashion plates, as photos offered a realistic portrayal of fashionable styles. [4] (#cite_note-Origin_and_Early_History_of_the_Fashion_Plate-4) [12] (#cite_note-12) In the late 1970s and early 1980s, Tomy (/wiki/Tomy) revived the concept as a toy marketed simply as Fashion Plates . [13] (#cite_note-13) [14] (#cite_note-14) [15] (#cite_note-15) Fashion plates v. costume plates [ edit ] Fashion plates should not be confused with costume plates. As outlined by the French social and cultural historian Daniel Roche (/wiki/Daniel_Roche_(historian)) , there was a point when depictions of costume and of fashion "diverged": [16] (#cite_note-16) the latter came to depict clothes of the present day, while the former came to represent clothes "after the event", that is, after the epoch of the fashionable style. "Le Monument de Costume" of Freudenberg and Moreau le Jeune, published in Paris between 1775 and 1783, consisted of costume plates. [5] (#cite_note-Costume_&_Fashion-5) Fashion plate illustrators [ edit ] Adele-Anaïs Colin Toudouze (/wiki/Adele-Ana%C3%AFs_Colin_Toudouze) References [ edit ] ^ (#cite_ref-1) Laver, James. Fashions and Fashion Plates 1800-1900. London and New York: Penguin Books Limited, 1943, p. 3 ^ (#cite_ref-2) "Are Fashion Plates Accurate? - The Costume Rag" (http://thecostumerag.com/fashion-plates-accurate/) . The Costume Rag . 2018-01-31 . Retrieved 2018-02-03 . ^ (#cite_ref-3) Dyer, Serena (2022). Disseminating Dress: Britain's Fashion Networks, 1600-1960 . Bloomsbury. pp. 73–94. ^ Jump up to: a b Nevinson, John L. "Origin and Early History of the Fashion Plate" (http://www.gutenberg.org/files/34472/34472-h/34472-h.htm) . Retrieved November 10, 2011 . ^ Jump up to: a b c d Laver, James (1986). Costume & Fashion . London, England: Thames and Hudson. p. 288. ISBN (/wiki/ISBN_(identifier)) 0-500-20190-0 . ^ Jump up to: a b "Fashion Plates introduction - National Portrait Gallery" (https://www.npg.org.uk/research/fashionplates/fashion-plates-introduction) . www.npg.org.uk . Retrieved 2021-03-18 . ^ Jump up to: a b Laudermilk, Sharon H.; Hamlin, Teresa L. (1989). The Regency Companion . Garland. p. 33. ISBN (/wiki/ISBN_(identifier)) 978-0-8240-2249-5 . ^ (#cite_ref-8) Ginsberg, Madeleine. "Fashion Plates" (https://fashion-history.lovetoknow.com/fashion-clothing-industry/fashion-plates) . LoveToKnow . Retrieved 2021-03-23 . ^ (#cite_ref-9) Godey, Louis (January 1857). "Godey's Arm-Chair". Godey's Lady's Book . 54 : 86. ^ Jump up to: a b c Brekke-Aloise, Linzy (2014). "A Very Pretty Business: Fashion and Consumer Culture in Antebellum American Prints". Winterthur Portfolio . 48 : 191–212. doi (/wiki/Doi_(identifier)) : 10.1086/677857 (https://doi.org/10.1086%2F677857) . S2CID (/wiki/S2CID_(identifier)) 147022141 (https://api.semanticscholar.org/CorpusID:147022141) – via JSTOR. ^ (#cite_ref-11) Hale, Sarah Josepha (January 1837). "The Conversazione". Godey's Lady's Book : 2. ^ (#cite_ref-12) Parker, Caitlin. "A Brief History of Fashion Photography" (https://news.artnet.com/market/a-brief-history-of-fashion-photography-32620) . ArtNet . Retrieved July 31, 2018 . ^ (#cite_ref-13) "Doll Kind - Fashion Plates" (https://web.archive.org/web/20200220010135/http://www.dollkind.com/dolls/fashion-plates/) . Archived from the original (http://www.dollkind.com/dolls/fashion-plates/) on 2020-02-20 . Retrieved 2014-09-23 . ^ (#cite_ref-14) "Retroland - Fashion Plates" (https://web.archive.org/web/20200216200257/http://www.retroland.com/fashion-plates) . Archived from the original (http://www.retroland.com/fashion-plates/) on 2020-02-16 . Retrieved 2014-09-23 . ^ (#cite_ref-15) "Fashion Plates from TOMY (1978)" (https://toytales.ca/fashion-plates-from-tomy-1978/) . Toy Tales . 2018-02-05 . Retrieved 2021-04-15 . ^ (#cite_ref-16) Roche Daniel. The Culture of Clothing: Dress and Fashion in the Ancien Régime." Translated by Jean Birrell. Cambridge: Cambridge University Press, 1989, p. 476 External links [ edit ] Wikimedia Commons has media related to Fashion plates (https://commons.wikimedia.org/wiki/Category:Fashion_plates) . Fashion Plate Collection, 19th Century (http://ccdl.libraries.claremont.edu/cdm/landingpage/collection/fpc) in the Claremont Colleges Digital Library Steele, Valerie (/wiki/Valerie_Steele) : Paris Fashion: A Cultural History , Oxford University Press, 1988, ISBN (/wiki/ISBN_(identifier)) 0-19-504465-7 (/wiki/Special:BookSources/0-19-504465-7) . 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For the former ink manufacturer, see Carter's Ink Company (/wiki/Carter%27s_Ink_Company) . American retail company Carter's, Inc. Company type Public (/wiki/Public_company) Traded as (/wiki/Ticker_symbol) NYSE (/wiki/New_York_Stock_Exchange) : CRI (https://www.nyse.com/quote/XNYS:CRI) S&P 400 (/wiki/List_of_S%26P_400_companies) component Founded 1865 ; 159 years ago ( 1865 ) (as William Carter Company) Needham, Massachusetts (/wiki/Needham,_Massachusetts) , U.S. Founder William Carter Headquarters Atlanta, Georgia (/wiki/Atlanta,_Georgia) , U.S. Number of locations 750 (November 2019) [1] (#cite_note-1) Products Clothing Number of employees 20,900 [2] (#cite_note-2) (2017) Subsidiaries (/wiki/Subsidiary) OshKosh B'gosh (/wiki/OshKosh_B%27gosh) Skip•Hop Inc. Website Carter's USA - carters (http://carters.com) .com (http://carters.com) Carter's UAE - ae (http://ae.carters.com) .carters (http://ae.carters.com) .com (http://ae.carters.com) A Carter's shop in Meyerland Plaza (/wiki/Meyerland_Plaza) , Houston (/wiki/Houston) Carter's, Inc. is a major American (/wiki/Americans) designer and marketer of children's apparel (/wiki/Children%27s_clothing) . It was founded in 1865 by William Carter. Carter's sells its products through its own Carter's and OshKosh B'gosh retail stores, its website, and in other retail outlets such as department stores (/wiki/Department_store) . As of 2019 [update] (https://en.wikipedia.org/w/index.php?title=Carter%27s&action=edit) , it was reported that Carter's accounted for around one-quarter of all sales both for the children's sleepwear (/wiki/Nightwear) market, and for clothes for the newborn to two-year-old age group. [3] (#cite_note-:1-3) History [ edit ] William Carter was the founder of William Carter Company in 1865 in Needham, Massachusetts (/wiki/Needham,_Massachusetts) . William Carter (1830–1918) was born in Alfreton, Derbyshire (/wiki/Alfreton,_Derbyshire) , England. He arrived in America on January 28, 1857. He married Martha Lee (1842-1873). They had four children: William Henry Carter (/wiki/William_Henry_Carter) (1864–1955), who served two terms in the U.S. House of Representatives (1915-1919) prior to being elected president of the William Carter Company in 1918; Mary Elizabeth Carter (1865-1961); John J. Carter (1867-1939); and Horace A. Carter (1869-1959). By the early 1960s, the William Carter Company manufactured at seven mills in Massachusetts and the South. The Carter family sold the business in 1990. [4] (#cite_note-4) In the early 2000s, Carter's reached an agreement with Target Corporation (/wiki/Target_Corporation) to create the "Just One You" spin-off clothing line, to be sold exclusively in Target stores. [3] (#cite_note-:1-3) Carter's later created exclusive lines for retailers Walmart (/wiki/Walmart) and Amazon (/wiki/Amazon_(company)) . All of the brands sell similar articles of clothing, such as bodysuits, pajamas, and dresses, but each has its own design team and pricing policies specific to the retailer. [3] (#cite_note-:1-3) Carter's acquired competitor OshKosh B'gosh (/wiki/OshKosh_B%27gosh) for $312 million in 2005. [5] (#cite_note-5) In 2012, Carter's, Inc. announced that Braselton, Georgia (/wiki/Braselton,_Georgia) would receive their 1-million-square-foot, $50 million distribution center that will support their e-commerce, retail, and wholesale businesses. The company hoped to create 1,000 jobs at the facility by 2015. In February 2017, Carter's, Inc. acquired Skip Hop Inc., an infant and child product company based in New York, for $140 million in cash and up to $10 million in future payments contingent on reaching certain financial goals in 2017. [6] (#cite_note-6) Fireman Capital Partners, a private equity (/wiki/Private_equity) firm, had previously acquired a majority equity (/wiki/Equity_(finance)) stake in Skip Hop Inc. for $50 million in November 2013. [7] (#cite_note-7) In addition to selling its apparel through third-party retailers, Carter's operated 1,060 branded stores and outlets as of 2019 [update] (https://en.wikipedia.org/w/index.php?title=Carter%27s&action=edit) , with plans to open up to another 100 stores in "mid-tier" shopping malls (/wiki/Shopping_mall) in the following years. [3] (#cite_note-:1-3) A market research (/wiki/Market_research) firm found that "Ninety percent of millennial (/wiki/Millennials) parents — and 80 percent of baby boomer (/wiki/Baby_boomers) grandparents — have shopped at Carter's in the past year." [3] (#cite_note-:1-3) Brands [ edit ] Carter's, Inc. markets clothing and other children's products under several brand names. Other than its namesake Carter's brand, OshKosh B'gosh (/wiki/OshKosh_B%27gosh) , and Skip Hop, these labels are exclusive to specific retailers and include, as of 2018 [update] (https://en.wikipedia.org/w/index.php?title=Carter%27s&action=edit) : [8] (#cite_note-:0-8) Exclusive to Target Corporation (/wiki/Target_Corporation) stores: Just One You Precious Firsts Genuine Kids Exclusive to Walmart (/wiki/Walmart) : Child of Mine Exclusive to Amazon (/wiki/Amazon_(company)) : Simple Joys [9] (#cite_note-9) The logo for each exclusive brand notes that it is "made by Carter's," with the exception of Genuine Kids, which carries the label "from OshKosh." Genuine Kids has been sold since 2003, before OshKosh was acquired by Carters, Inc. [8] (#cite_note-:0-8) Headquarters [ edit ] In October 2012, the Atlanta Business Chronicle (/wiki/Atlanta_Business_Chronicle) reported that Carter's Inc. was likely to lease in the Phipps Tower (/wiki/Phipps_Tower) in Buckhead for its headquarters. [10] (#cite_note-Samslikely-10) In December 2012, Carter's Inc. announced that it was moving its headquarters from Midtown Atlanta (/wiki/Midtown_Atlanta) . The lease of 222,730 square feet (20,692 m 2 ) of space is one of the largest headquarters leases to have occurred to date in the Buckhead area of Atlanta. The estimated value of the lease, except for concessions and escalation, was $70 million. The lease in Midtown was scheduled to be terminated on December 31, 2013. [11] (#cite_note-Samsmove-11) The company consolidated its out of state jobs into the new facility, with 200 additional jobs going to Buckhead (/wiki/Buckhead) . Manulife Financial Corp (/wiki/Manulife_Financial_Corp) owns both the Proscenium and the Phipps Tower so Carter's terminated its lease early in one building and moved to the other. [12] (#cite_note-12) The company now has its headquarters in Suite 1800 at Phipps Tower (/wiki/Phipps_Tower) , [13] (#cite_note-13) in Buckhead, Atlanta (/wiki/Buckhead,_Atlanta) . See also [ edit ] Companies portal (/wiki/Portal:Companies) Fashion portal (/wiki/Portal:Fashion) List of S&P 400 companies (/wiki/List_of_S%26P_400_companies) References [ edit ] ^ (#cite_ref-1) "Home" (https://www.carters.com/) . carters.com . ^ (#cite_ref-2) "Carter's" (http://fortune.com/fortune500/carters/) . Fortune . Retrieved 2019-02-15 . ^ Jump up to: a b c d e Bhattarai, Abha (2019-07-26). "Billion-dollar baby: How Carter's became a staple of just about every child's wardrobe" (https://www.washingtonpost.com/business/2019/07/26/billion-dollar-baby-how-carters-became-staple-just-about-every-childs-wardrobe/) . The Washington Post . Retrieved 2019-07-26 . ^ (#cite_ref-4) "The William Carter Company" (https://needhamhistory.org/walk/carter-company/) . needhamhistory.org . ^ (#cite_ref-5) "Company News; Carter's to Acquire OshKosh B'Gosh" (https://query.nytimes.com/gst/fullpage.html?res=9E0DE1D81330F932A25756C0A9639C8B63) . The New York Times . 2005-05-11. ISSN (/wiki/ISSN_(identifier)) 0362-4331 (https://www.worldcat.org/issn/0362-4331) . Retrieved 2017-02-24 . ^ (#cite_ref-6) "Carter's Inc. buys Skip Hop, posts $258.1 million profit for 2016" (http://www.bizjournals.com/atlanta/news/2017/02/23/carter-s-inc-buys-skip-hop-posts-258-1-million.html) . Atlanta Business Chronicle . 2017-02-23 . Retrieved 2017-02-24 . ^ (#cite_ref-7) "Fireman Capital Partners sells Skip Hop Inc. to Carter's" (https://www.bostonglobe.com/business/talking-points/2017/02/23/fireman-capital-partners-sells-skip-hop-inc-carter/ttFquQUQbIBMRyxkZazDMK/story.html) . The Boston Globe . 2017-02-24 . Retrieved 2017-02-24 . ^ Jump up to: a b "Carters Inc. | Our Brands" (http://corporate.carters.com/on/demandware.store/Sites-CartersInc-Site/default/Link-Page?cid=corporateOurBrands) . corporate.carters.com . Retrieved 2018-10-16 . ^ (#cite_ref-9) del Ray, Jason (July 9, 2017). "A $4 billion clothing company created an exclusive brand for Amazon Prime" (https://www.vox.com/2017/7/9/15862090/carters-amazon-prime-exclusive-clothing-brands-simple-joys) . Vox. ^ (#cite_ref-Samslikely_10-0) Sams, Douglas. " Carter's HQ likely moving to Buckhead (http://www.bizjournals.com/atlanta/real_talk/2012/10/carters-hq-likely-moving-to-buckhead.html) ." Atlanta Business Chronicle (/wiki/Atlanta_Business_Chronicle) . October 12, 2012. Updated October 22, 2012. Retrieved on May 23, 2013. ^ (#cite_ref-Samsmove_11-0) Sams, Douglas. " Carter's moving HQ to Phipps Tower (http://www.bizjournals.com/atlanta/real_talk/2012/12/carters-moving-hq-to-phipps-tower.html) ." Atlanta Business Chronicle (/wiki/Atlanta_Business_Chronicle) . December 14, 2012. Updated on December 17, 2013. Retrieved on May 23, 2013. ^ (#cite_ref-12) " Carter's moves to Buckhead (http://www.regentpartners.com/assets/2013-Best-In-Atlanta-Real-Estate.pdf) ." ( Archive (https://web.archive.org/web/20151027023403/http://www.regentpartners.com/assets/2013-Best-In-Atlanta-Real-Estate.pdf) ) Atlanta Business Chronicle (/wiki/Atlanta_Business_Chronicle) . p. 2-3. ^ (#cite_ref-13) " 2014 Annual Report (http://phx.corporate-ir.net/External.File?item=UGFyZW50SUQ9NTc1NDcyfENoaWxkSUQ9Mjc5MDM5fFR5cGU9MQ==&t=1) [ permanent dead link ] ." Carter's, Inc. "Phipps Tower 3438 Peachtree Road NE, Suite 1800 Atlanta, Georgia 30326 (Address of principal executive offices, including zip code)" External links [ edit ] Carter's USA (http://corporate.carters.com) Carter's UAE (https://ae.carters.com) The William Carter Company | Needham Historical Society (https://web.archive.org/web/20150402065755/http://needhamhistory.org/walk/the-william-carter-company/) v t e S&P 400 companies (/wiki/List_of_S%26P_400_companies) Energy Antero Midstream (/wiki/Antero_Midstream) Antero Resources (/wiki/Antero_Resources) ChampionX (/w/index.php?title=ChampionX&action=edit&redlink=1) Chesapeake Energy (/wiki/Chesapeake_Energy) Chord Energy (/wiki/Chord_Energy) Civitas Resources (/w/index.php?title=Civitas_Resources&action=edit&redlink=1) CNX Resources (/wiki/CNX_Resources) DT Midstream (/w/index.php?title=DT_Midstream&action=edit&redlink=1) Equitrans Midstream (/wiki/Equitrans_Midstream) HF Sinclair (/wiki/HF_Sinclair) Matador Resources (/w/index.php?title=Matador_Resources&action=edit&redlink=1) Murphy Oil (/wiki/Murphy_Oil) Nov (/wiki/NOV_Inc.) 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Designer label and manufacturer Krizia Industry Luxury fashion (/wiki/Fashion) Founded 1954 ; 70 years ago ( 1954 ) Milan (/wiki/Milan) , Italy (/wiki/Italy) Founder Mariuccia Mandelli (/wiki/Mariuccia_Mandelli) Headquarters Milan , Italy Area served Worldwide Products Women’s ready-to-wear, accessories, jewelry, leather goods, shoes, perfumes Owner Zhu Chongyun Parent (/wiki/Parent_company) Shenzhen Marisfrolg Website Krizia.it (https://www.krizia.it/) Krizia is a designer label (/wiki/Designer_label) and manufacturer of ladies' handbags (/wiki/Handbag) , clothing, footwear and perfumes. [1] (#cite_note-1) The ready-to-wear fashion label was established in 1954 in Milan, Italy (/wiki/Milan,_Italy) , by Mariuccia Mandelli (/wiki/Mariuccia_Mandelli) (1925–2015). [2] (#cite_note-guardian-2) [3] (#cite_note-3) Her husband Aldo Pinto was chairman of the company. [4] (#cite_note-:0-4) History [ edit ] Mandelli unveiled her first black-and-white collection at the Palazzo Pitti (/wiki/Palazzo_Pitti) in Florence, Italy (/wiki/Florence,_Italy) , in 1964, which earned her a Critica della Moda award. [2] (#cite_note-guardian-2) The brand's first and historic location was on Via della Spiga (/wiki/Via_della_Spiga) , 23 in Milan. [5] (#cite_note-:1-5) Under Mandelli, Krizia rapidly expanded during the 1960s and 1970s. [2] (#cite_note-guardian-2) In 1971, Krizia released a version of shorts cut "very short", an early form of hot pants (/wiki/Hot_pants) . [2] (#cite_note-guardian-2) Every year, Mandelli would knit a different animal on selected items of her collection. [6] (#cite_note-6) In 1985, Krizia opened a private art showroom (Spazio Krizia) on Via Manin, 21, in Milan. [4] (#cite_note-:0-4) At its height, in the 1990s, the fashion house (/wiki/Fashion_house) was doing half a billion dollars of annual business. [7] (#cite_note-nytobit-7) It was while at the helm of Krizia that Mandelli introduced the high fashion world to hot pants (/wiki/Hot_pants) . [8] (#cite_note-8) [9] (#cite_note-9) In 1992, the company launched its affordable brand MM by Krizia, a year after its licence-holder Hartmarx (/wiki/Hartmarx) suggested it. [10] (#cite_note-10) In 1995, the company was trialed in the USA, along with many other Italian fashion brands, for "bribing tax officers in exchange for lenient audits". [11] (#cite_note-11) In Italy, the investigation was handled by Mani pulite (/wiki/Mani_pulite) 's magistrate Antonio Di Pietro (/wiki/Antonio_Di_Pietro) . [12] (#cite_note-12) In February 2014, Shenzhen Marisfrolg, a Chinese corporation owned by the entrepreneur and designer Zhu Chongyun, bought Krizia and Mandelli stepped down from a leadership role. [13] (#cite_note-Italy's_Krizia_Brand_Sold_to_China's_Shenzhen_Marisfrolg-13) [14] (#cite_note-14) In 2015, the Via della Spiga's historic store was revamped. [5] (#cite_note-:1-5) In January 2017, Simona Clemenza was named CEO of the company. [15] (#cite_note-:2-15) Two Krizia boutiques opened in China, and in March 2017, the Spazio Krizia reopened. [4] (#cite_note-:0-4) In June 2018, Clemenza left the company. [15] (#cite_note-:2-15) See also [ edit ] Company portal (/wiki/Portal:Company) Fashion portal (/wiki/Portal:Fashion) Italy portal (/wiki/Portal:Italy) Italian fashion (/wiki/Italian_fashion) Made in Italy (/wiki/Made_in_Italy) References [ edit ] ^ (#cite_ref-1) "Krizia S.p.A." (https://web.archive.org/web/20181119004354/http://nymag.com/listings/stores/krizia/) New York Magazine. Archived from the original (http://nymag.com/listings/stores/krizia/) on 19 November 2018 . Retrieved 25 May 2012 . ^ Jump up to: a b c d "Mariuccia Mandelli obituary" (https://www.theguardian.com/fashion/2015/dec/13/mariuccia-mandelli) . The Guardian (/wiki/The_Guardian) . 2015-12-13 . Retrieved 2016-01-04 . ^ (#cite_ref-3) "Krizia Fashion Brand Founder Maria Mandelli Dies at 90" (https://www.businessoffashion.com/articles/news-analysis/krizia-fashion-brand-founder-maria-mandelli-dies-at-90) . The Business of Fashion . 2015-12-07 . Retrieved 2020-03-31 . ^ Jump up to: a b c Zargani, Luisa (2017-03-24). "Krizia Plans Retail Rollout in China, Reopens Cultural Space in Milan" (https://wwd.com/fashion-news/designer-luxury/krizia-plans-retail-rollout-china-reopens-cultural-space-10851510/) . WWD . Retrieved 2022-09-27 . ^ Jump up to: a b Martin, JJ (2015-11-02). "Krizia joins forces with Vincenzo De Cotiis for a stark new store blueprint" (https://www.wallpaper.com/fashion/krizia-joins-forces-with-vincenzo-de-cotiis-for-a-stark-new-store-blueprint) . Wallpaper* . Retrieved 2022-09-27 . ^ (#cite_ref-6) Morris, Bernadine (1982-03-19). "KRIZIA AND FERRE: WIT AND VISION" (https://www.nytimes.com/1982/03/19/style/krizia-and-ferre-wit-and-vision.html) . The New York Times . ISSN (/wiki/ISSN_(identifier)) 0362-4331 (https://www.worldcat.org/issn/0362-4331) . Retrieved 2022-09-27 . ^ (#cite_ref-nytobit_7-0) Fox, Margalit (7 December 2015). "Mariuccia Mandelli, Italian Fashion Designer, Dies at 90" (https://www.nytimes.com/2015/12/08/fashion/mariuccia-mandelli-italian-fashion-designer-dies-at-90.html) . New York Times . Retrieved 18 December 2015 . ^ (#cite_ref-8) Mariuccia Mandelli obituary (http://nymag.com/thecut/2015/12/mariuccia-mandelli-krizia-obituary.html) , nymag.com; accessed 25 December 2015. ^ (#cite_ref-9) "Collections" (https://web.archive.org/web/20120627131541/http://www.krizia.it/collections.php) . Krizia. Archived from the original (http://www.krizia.it/collections.php) on 27 June 2012 . Retrieved 25 May 2012 . ^ (#cite_ref-10) Schiro, Anne-Marie (1992-07-14). "The Spirit Is Krizia, and the Prices Are Friendly" (https://www.nytimes.com/1992/07/14/news/the-spirit-is-krizia-and-the-prices-are-friendly.html) . The New York Times . ISSN (/wiki/ISSN_(identifier)) 0362-4331 (https://www.worldcat.org/issn/0362-4331) . Retrieved 2022-09-27 . ^ (#cite_ref-11) "Italian Fashion Trial Postponed: The corruption trial..." (https://www.latimes.com/archives/la-xpm-1995-09-21-fi-48468-story.html) Los Angeles Times . 1995-09-21 . Retrieved 2022-09-27 . ^ (#cite_ref-12) Shadbolt, Peter (23 September 1994). "Bribes scandal reaches Italian fashion" (https://www.upi.com/Archives/1994/09/23/Bribes-scandal-reaches-Italian-fashion/6556780292800/) . UPI . Retrieved 2022-09-27 . ^ (#cite_ref-Italy's_Krizia_Brand_Sold_to_China's_Shenzhen_Marisfrolg_13-0) Luisa Zargani (24 February 2014). "Italy's Krizia Brand Sold to China's Shenzhen Marisfrolg" (http://www.wwd.com/markets-news/ready-to-wear-sportswear/krizia-sold-to-chinas-shenzhen-marisfrolg-7503382?src=nl/mornReport/20140224) . WWD . Retrieved 24 February 2014 . ^ (#cite_ref-14) "Chinese designer Zhu charms Milan fashion world with plans for Krizia" (https://www.scmp.com/lifestyle/fashion-watches/article/1597455/dont-worry-im-keeping-it-italian-says-new-chinese-owner) . South China Morning Post . 2014-09-21 . Retrieved 2022-09-27 . ^ Jump up to: a b Turra, Alessandra (2018-06-21). "Krizia and CEO Simona Clemenza Part Ways" (https://wwd.com/business-news/human-resources/krizia-and-ceo-simona-clemenza-part-ways-1202725564/) . WWD . Retrieved 2022-09-27 . External links [ edit ] Official website (https://www.krizia.it/) This Italian corporation or company article is a stub (/wiki/Wikipedia:Stub) . 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Style of art from 1837 to 1901 This article has multiple issues. Please help improve it (/wiki/Special:EditPage/Victorian_decorative_arts) or discuss these issues on the talk page (/wiki/Talk:Victorian_decorative_arts) . ( Learn how and when to remove these template messages (/wiki/Help:Maintenance_template_removal) ) This article needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Victorian_decorative_arts) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed. 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Please help to improve (/wiki/Wikipedia:WikiProject_Reliability) this article by introducing (/wiki/Wikipedia:When_to_cite) more precise citations. ( August 2022 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Dante Gabriel Rossetti (/wiki/Dante_Gabriel_Rossetti) 's drawing room at No. 16 Cheyne Walk (/wiki/Cheyne_Walk) , 1882, by Henry Treffry Dunn (/wiki/Henry_Treffry_Dunn) . Victorian decorative arts refers to the style of decorative arts (/wiki/Decorative_arts) during the Victorian era (/wiki/Victorian_era) . Victorian design is widely viewed as having indulged in a grand excess of ornament. The Victorian era is known for its interpretation and eclectic (/wiki/Eclecticism_in_art) revival of historic styles mixed with the introduction of Asian and Middle Eastern influences in furniture, fittings, and interior decoration (/wiki/Interior_decoration) . The Arts and Crafts movement (/wiki/Arts_and_Crafts_movement) , the aesthetic movement (/wiki/Aesthetic_movement) , Anglo-Japanese style (/wiki/Anglo-Japanese_style) , and Art Nouveau style (/wiki/Art_Nouveau) have their beginnings in the late Victorian era and gothic period. Architecture [ edit ] This section is an excerpt from Victorian architecture (/wiki/Victorian_architecture) . [ edit (https://en.wikipedia.org/w/index.php?title=Victorian_architecture&action=edit) ] St. Pancras railway station (/wiki/St_Pancras_railway_station) and Midland Hotel in London (/wiki/London) , opened in 1868 Victorian architecture (/wiki/Victorian_architecture) is a series of architectural revival styles (/wiki/Revivalism_(architecture)) in the mid-to-late 19th century. Victorian refers to the reign of Queen Victoria (/wiki/Queen_Victoria) (1837–1901), called the Victorian era (/wiki/Victorian_era) , during which period the styles known as Victorian were used in construction. However, many elements of what is typically termed "Victorian" architecture did not become popular until later in Victoria's reign, roughly from 1850 and later. The styles often included interpretations and eclectic (/wiki/Eclecticism_in_architecture) revivals (/wiki/Revivalism_(architecture)) of historic styles (see Historicism (/wiki/Historicism_(art)) ) . The name represents the British and French custom of naming architectural styles for a reigning monarch. Within this naming and classification scheme, it followed Georgian architecture (/wiki/Georgian_architecture) and later Regency architecture (/wiki/Regency_architecture) and was succeeded by Edwardian architecture (/wiki/Edwardian_architecture) . Although Victoria did not reign over the United States, the term is often used for American styles and buildings from the same period, as well as those from the British Empire (/wiki/British_Empire) . Interior decoration and design [ edit ] Interior decoration (/wiki/Interior_decoration) and interior design (/wiki/Interior_design) of the Victorian era are noted for orderliness and ornamentation. A house from this period was idealistically divided in rooms, with public and private space carefully separated. A bare room was considered to be in poor taste, so every surface was filled with objects that reflected the owner's interests and aspirations. The parlour was the most important room in a home and was the showcase for the homeowners where guests were entertained. The dining room was the second-most important room in the house. The sideboard (/wiki/Sideboard) was most often the focal point, which attracts visitor’s eyes immediately when they go into a room or space, [1] (#cite_note-1) of the dining room and very ornately decorated. Old interiors [ edit ] Dining room of the Theodore Roosevelt Sr. (/wiki/Theodore_Roosevelt_Sr.) townhouse, New York City (1873, demolished). Victorian style dining room, USA, early 1900s. Victorian style parlor, USA, early 1900s Room with Victorian design, early 1900s Parlor in a New York House from the 1850s. The parlor of the Whittemore House (/wiki/Whittemore_House_(Washington,_D.C.)) 1526 New Hampshire Avenue, Dupont Circle, Washington, D.C Preserved interiors, private spaces [ edit ] 1890s Bedroom, James A. Garfield National Historic Site (/wiki/James_A._Garfield_National_Historic_Site) Victorian bedroom exhibition, Dalgarven Mill (/wiki/Dalgarven_Mill_%E2%80%93_Museum_of_Ayrshire_Country_Life_and_Costume) , Ayrshire Victorian kitchen, Dalgarven Mill, Ayrshire Victorian kitchen, Dalgarven Preserved interiors, public spaces [ edit ] A Victorian sittingroom Vanderbilt Mansion (/wiki/Vanderbilt_Mansion_National_Historic_Site) , living room 1879, parlor of Emlen Physick Estate (/wiki/Emlen_Physick_Estate) , 1048 Washington Street, New Jersey Lanhydrock House (/wiki/Lanhydrock_House) , drawing room Dunedin Club (/w/index.php?title=Dunedin_Club&action=edit&redlink=1) , interior, billiard room The Commandant drawing room, Port Arthur, Tasmania Workhouse schoolroom Walls and ceilings [ edit ] The choice of paint color on the walls in Victorian homes was said to be based on the use of the room. Hallways that were in the entry hall and the stair halls were painted a somber gray so as not to compete with the surrounding rooms. Most people marbleized the walls or the woodwork. Also on walls it was common to score into wet plaster to make it resemble blocks of stone. Finishes that were either marbleized (/wiki/Marbleizing) or grained were frequently found on doors and woodwork. "Graining" was meant to imitate woods of higher quality that were more difficult to work. There were specific rules for interior color choice and placement. The theory of “harmony by analogy” was to use the colors that lay next to each other on the color wheel (/wiki/Color_wheel) . And the second was the “harmony by contrast” that was to use the colors that were opposite of one another on the color wheel. There was a favored tripartite (/wiki/3_(number)) wall that included a dado (/wiki/Dado_(architecture)) or wainscoting (/wiki/Wainscoting) at the bottom, a field in the middle and a frieze (/wiki/Frieze) or cornice (/wiki/Cornice) at the top. This was popular into the 20th century. Frederick Walton (/wiki/Frederick_Walton) who created linoleum in 1863 created the process for embossing semi-liquid linseed oil, backed with waterproofed paper or canvas. It was called Lincrusta (/wiki/Lincrusta) and was applied much like wallpaper. This process made it easy to then go over the oil and make it resemble wood or different types of leather. On the ceilings that were 8–14 feet the color was tinted three shades lighter than the color that was on the walls and usually had a high quality of ornamentation because decorated ceilings were favored. Wallpaper [ edit ] Wallpaper and wallcoverings became accessible for increasing numbers of householders with their wide range of designs and varying costs. This was due to the introduction of mass production techniques and, in England, the repeal in 1836 of the Wallpaper tax (/wiki/Wallpaper_tax) introduced in 1712. Wallpaper (/wiki/Wallpaper) was often made in elaborate floral patterns with primary colors (/wiki/Primary_color) (red, blue, and yellow) in the backgrounds and overprinted with colours of cream and tan. This was followed by Gothic art (/wiki/Gothic_art) inspired papers in earth tones with stylized leaf and floral patterns. William Morris (/wiki/William_Morris) was one of the most influential designers of wallpaper and fabrics during the latter half of the Victorian period. Morris was inspired and used Medieval (/wiki/Medieval) and Gothic tapestries (/wiki/Tapestries) in his work. Embossed paper were used on ceilings and friezes. Artichoke wallpaper (/wiki/Wallpaper) , by John Henry Dearle (/wiki/John_Henry_Dearle) for Morris & Co. (/wiki/Morris_%26_Co.) , circa 1897 ( Victoria and Albert Museum (/wiki/Victoria_and_Albert_Museum) ). Acanthus wallpaper, 1875 Snakeshead printed textile, 1876 Peacock and Dragon woven wool furnishing fabric, 1878 Design for Windrush printed textile, 1881–83 Detail of Woodpecker tapestry, 1885 Furniture [ edit ] The Chevy Chase Sideboard by Gerrard Robinson. Often considered to be one of the finest furniture pieces of the 19th century and an icon of Victorian furniture. There was not one dominant style of furniture in the Victorian period. Designers rather used and modified many styles taken from various time periods in history like Gothic (/wiki/Gothic_art) , Tudor (/wiki/Tudor_period) , Elizabethan (/wiki/Elizabethan) , English Rococo (/wiki/Rococo) , Neoclassical (/wiki/Neoclassicism) and others. The Gothic and Rococo revival style were the most common styles to be seen in furniture during this time in history. Albert Chevallier Tayler (/wiki/Albert_Chevallier_Tayler) The Grey Drawing Room Albert Chevallier Tayler The Quiet Hour Breakfast by Albert Chevallier Tayler 1909 Christmas tree decoration by Marcel Rieder (/wiki/Marcel_Rieder) (1862-1942) Oscar Wilde's aesthetic of Victorian decoration [ edit ] Chief among the literary practitioners of decorative aestheticism was Oscar Wilde (/wiki/Oscar_Wilde) , who advocated Victorian decorative individualism in speech, fiction, and essay-form. [2] (#cite_note-FOOTNOTEvan_der_Plaat20159–10-2) Wilde’s notion of cultural enlightenment through visual cues echoes that of Alexander von Humboldt (/wiki/Alexander_von_Humboldt) [3] (#cite_note-FOOTNOTEvan_der_Plaat20151–2,_12-3) who maintained that imagination was not the Romantic figment of scarcity and mystery but rather something anyone could begin to develop with other methods, including organic elements in pteridomania (/wiki/Pteridomania) . [4] (#cite_note-FOOTNOTEFlanders2002200–202-4) By changing one’s immediate dwelling quarters, one changed one’s mind as well; [5] (#cite_note-FOOTNOTEvan_der_Plaat201511–14-5) Wilde believed that the way forward in cosmopolitanism began with as a means eclipse the societally mundane, and that such guidance would be found not in books or classrooms, but through a lived Platonic epistemology (/wiki/Platonic_epistemology) . [6] (#cite_note-FOOTNOTEvan_der_Plaat201511–16-6) An aesthetic shift in the home’s Victorian decorative arts reached its highest outcome in the literal transformation of the individual into cosmopolitan, as Wilde was regarded and noted among others in his tour of America. [7] (#cite_note-FOOTNOTEBlanchard199539–45-7) For Wilde, however, the inner meaning of Victorian decorative arts is fourfold: one must first reconstruct one’s inside so as to grasp what is outside in terms of both living quarters and mind, whilst hearkening back to von Humboldt on the way to Plato so as to be immersed in contemporaneous cosmopolitanism, [8] (#cite_note-FOOTNOTEMonsman200226–29-8) thereby in the ideal state becoming oneself admirably aesthetical. See also [ edit ] Victorian fashion (/wiki/Victorian_fashion) – Fashions and trends in British culture during the Victorian era Victoriana (/wiki/Victoriana) – items from the Victorian period Pages displaying wikidata descriptions as a fallback Eastlake movement (/wiki/Eastlake_movement) – Architectural movement French polish (/wiki/French_polish) – Wood finishing technique Neo-Victorian (/wiki/Neo-Victorian) – Aesthetic movement Pteridomania (/wiki/Pteridomania) – Popular craze in late nineteenth-century United Kingdom Staffordshire dog figurine (/wiki/Staffordshire_dog_figurine) Hand cooler (/wiki/Hand_cooler) – egg-shaped item originally made of porcelain, marble, glass or crystal, cooled and carried in the hand Pages displaying wikidata descriptions as a fallback Charles Eastlake (/wiki/Charles_Eastlake) – English architect and designer Augustus Pugin (/wiki/Augustus_Pugin) – English architect and designer William Morris wallpaper designs (/wiki/William_Morris_wallpaper_designs) – Interior design References [ edit ] ^ (#cite_ref-1) Nguyen Hoang, Viet. "Focal Point In Interior Design" (https://stunninteriors.com/focal-point-in-interior-design/) . Stunninteriors . ^ (#cite_ref-FOOTNOTEvan_der_Plaat20159–10_2-0) van der Plaat (2015) (#CITEREFvan_der_Plaat2015) , pp. 9–10. ^ (#cite_ref-FOOTNOTEvan_der_Plaat20151–2,_12_3-0) van der Plaat (2015) (#CITEREFvan_der_Plaat2015) , pp. 1–2, 12. ^ (#cite_ref-FOOTNOTEFlanders2002200–202_4-0) Flanders (2002) (#CITEREFFlanders2002) , pp. 200–202. ^ (#cite_ref-FOOTNOTEvan_der_Plaat201511–14_5-0) van der Plaat (2015) (#CITEREFvan_der_Plaat2015) , pp. 11–14. ^ (#cite_ref-FOOTNOTEvan_der_Plaat201511–16_6-0) van der Plaat (2015) (#CITEREFvan_der_Plaat2015) , pp. 11–16. ^ (#cite_ref-FOOTNOTEBlanchard199539–45_7-0) Blanchard (1995) (#CITEREFBlanchard1995) , pp. 39–45. ^ (#cite_ref-FOOTNOTEMonsman200226–29_8-0) Monsman (2002) (#CITEREFMonsman2002) , pp. 26–29. Works cited [ edit ] Blanchard, Mary W. (1995). "Boundaries and the Victorian Body: Aesthetic Fashion in Gilded Age America". The American Historical Review . 100 (1): 39–45. doi (/wiki/Doi_(identifier)) : 10.2307/2167982 (https://doi.org/10.2307%2F2167982) . JSTOR (/wiki/JSTOR_(identifier)) 2167982 (https://www.jstor.org/stable/2167982) . Flanders, Judith (2002). Inside the Victorian Home . New York: W.W. Norton & Co. pp. 200–202. Monsman, Gerald (2002). "The Platonic Eros of Walter Pater and Oscar Wilde: Love's Reflected Image in the 1890s" (https://muse.jhu.edu/article/367482) . English Literature in Transition . 45 (1): 26–29. ISSN (/wiki/ISSN_(identifier)) 1559-2715 (https://www.worldcat.org/issn/1559-2715) . van der Plaat, Deborah (2015). "Visualising the Critical: Artistic Convention and Eclecticism in Oscar Wilde's Writings on the Decorative Arts" (https://openjournals.library.sydney.edu.au/AJVS/article/view/9394) . Australasian Journal of Victorian Studies . 19 (1): 5–19. ISSN (/wiki/ISSN_(identifier)) 1327-8746 (https://www.worldcat.org/issn/1327-8746) . External links [ edit ] This article's use of external links (/wiki/Wikipedia:External_links) may not follow Wikipedia's policies or guidelines . Please improve this article (https://en.wikipedia.org/w/index.php?title=Victorian_decorative_arts&action=edit) by removing excessive (/wiki/Wikipedia:What_Wikipedia_is_not#Wikipedia_is_not_a_mirror_or_a_repository_of_links,_images,_or_media_files) or inappropriate (/wiki/Wikipedia:External_links) external links, and converting useful links where appropriate into footnote references (/wiki/Wikipedia:Citing_sources) . ( August 2022 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Victorian Furniture (https://antiquesworld.co.uk/antique/victorian-furniture/) Victorian Room Virtual Tour (https://www.bbc.co.uk/history/british/victorians/launch_vt_victorian_room.shtml) Victorian Design (victorianweb.org) (http://www.victorianweb.org/art/design/designov.html) including ceramics, furniture, glass, jewelry, metalwork, and textiles. Early Victorian Furniture History in England (http://www.furniturestyles.net/european/english/early-victorian.html) Interior decoration and design (http://kamocad.com/Interior_decoration_and_design.php) Late Victorian Era Furniture History in England (http://www.furniturestyles.net/european/english/late-victorian.html) Victorian Bookmarks (http://www.miragebookmark.ch/The-Daily-Chronicle.htm) Mostly-Victorian.com (http://www.mostly-victorian.com) - Arts, crafts and interior design articles from Victorian periodicals. "Victorian Furniture Styles" (https://web.archive.org/web/20101119095442/http://www.vam.ac.uk/collections/fashion/features/20th_century_fashion_drawing_illustration/1900s/index.html) . Furniture . Victoria and Albert Museum (/wiki/Victoria_and_Albert_Museum) . Archived from the original (http://www.vam.ac.uk/collections/fashion/features/20th_century_fashion_drawing_illustration/1900s/index.html) on 2010-11-19 . Retrieved 2011-04-03 . The history of wallcoverings and wallpaper (http://www.thevictorianemporium.com/periodliving/history/article/history_of_wallcoverings) Interior design: Victorian (http://www.nationaltrust.org.uk/article-1356394270252/) - National Trust v t e Decorative arts (/wiki/Decorative_arts) and handicraft (/wiki/Handicraft) History (/wiki/History_of_decorative_arts) Textile (/wiki/Textile_arts) Banner-making (/wiki/Banner-making) Canvas work (/wiki/Canvas_work) Crocheting (/wiki/Crochet) Cross-stitch (/wiki/Cross-stitch) Embroidery (/wiki/Embroidery) Felting (/wiki/Felt) Friendship bracelet (/wiki/Friendship_bracelet) Knitting (/wiki/Knitting) Lace-making (/wiki/Lace) Lucet (/wiki/Lucet) Macrame (/wiki/Macram%C3%A9) Millinery (/wiki/Hatmaking) Needlepoint (/wiki/Needlepoint) Needlework (/wiki/Needlework) Patchwork (/wiki/Patchwork) Quilting (/wiki/Quilting) Ribbon embroidery (/wiki/Embroidery) Carpet (/wiki/Carpet) Rug hooking (/wiki/Rug_hooking) Rug making (/wiki/Rug_making) Sewing 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Headgear from the Hejaz region of Saudi Arabia Hejazi turban العِمامة الحِجازيّة Example of white Hejazi Turban. Type Arab clothing (/wiki/Arab_clothing) Place of origin Hejaz (/wiki/Hejaz) , Arabian Peninsula (/wiki/Arabian_Peninsula) The Hejazi turban ( Arabic (/wiki/Arabic_language) : العِمامة الحِجازيّة , ʾimāmah IPA (/wiki/International_Phonetic_Alphabet) : ʕi.maː.mah ), also spelled Hijazi turban , is a type of the turban (/wiki/Turban) headdress (/wiki/Headdress) native to the region of Hejaz (/wiki/Hejaz) in modern-day western Saudi Arabia (/wiki/Saudi_Arabia) . It is but one version of Arabian turbans that have been worn in the Arabian Peninsula (/wiki/Arabian_Peninsula) from the pre-Islamic era to the present day. Islamic Arabs of the Arabian Peninsula (/wiki/Arabian_Peninsula) region such as the Quraysh (/wiki/Quraysh) , Ansar (/wiki/Ansar_(Islam)) , Qahtanites (/wiki/Qahtanite) , Kindites (/wiki/Kinda_(tribe)) , Nabataeans (/wiki/Nabataeans) , Qedarites (/wiki/Qedarites) , Adnanites (/wiki/Adnanites) , Himyarites (/wiki/Himyarite_Kingdom) , Lakhmids (/wiki/Lakhmids) , Ghassanids (/wiki/Ghassanids) , and others used to wear the turban alongside the Keffiyeh (/wiki/Keffiyeh) which is also popular today in the rest of the Arabian Peninsula (/wiki/Arabian_Peninsula) . [1] (#cite_note-FOOTNOTEKhan2014-1) By the Islamic era, the Hejazi turban became less common in the region and was replaced by the imama (/wiki/Ammama) . Centuries after that, the imama (/wiki/Ammama) was replaced by the Ghutrah (/wiki/Keffiyeh) / Shemagh (/wiki/Keffiyeh) . Versions [ edit ] The Arabian Hejazi turban is still worn today by some Ulama (/wiki/Ulama) and Imams (/wiki/Imams) . [ citation needed ] Worn in coloured or white varieties, the turban was a common inherited cultural headwear in the region of Hijaz (/wiki/Hijaz) . The Imamah was the traditional headwear for many in the region, from traders to the religious scholars, and the colours in which it was worn differed between individuals. [2] (#cite_note-FOOTNOTEYamaniLindisfame-TapperIngham201457-2) In particular, the coloured turban is known as a Ghabanah and was a common head accessory for the inhabitants of Mecca (/wiki/Mecca) , Madinah (/wiki/Madinah) and Jeddah (/wiki/Jeddah) in particular. [3] (#cite_note-FOOTNOTEKuonen202034-3) Ghabanah today is the heritage uniform headwear for local traders and the general categories of the prestigious and middle-class. There are several types of Ghabanah , perhaps the most famous is the yellow (Halabi), that is made in Aleppo (/wiki/Aleppo) and is characterized by different inscriptions and is wrapped on a dome-like hollow taqiyah (/wiki/Taqiyah_(cap)) or a Turkish fez (/wiki/Fez_(hat)) or kalpak (/wiki/Kalpak) cap. It is similar to turbans in neighbouring regions, like the masar , a traditional lightly-coloured turban in Oman (/wiki/Oman) that is also common in some regions like the south of Yemen (/wiki/Yemen) and Hadhramaut (/wiki/Hadhramaut) . [4] (#cite_note-FOOTNOTEMarrielle2019-4) Additionally, sometimes keffiyeh (/wiki/Keffiyeh) is wrapped around the head in a style resembling a turban. [5] (#cite_note-FOOTNOTEYamaniLindisfame-TapperIngham201447-5) Suppression [ edit ] However, with the Hijaz in particular falling under Saudi control (/wiki/Saudi_conquest_of_Hejaz) , there have been attempts to suppress local ethnic dress and enforce cultural homogeneity with wider Saudi society. [6] (#cite_note-FOOTNOTEYamaniLindisfame-TapperIngham201456-6) With the introduction of a law in 1964, there was a temporary ban on wearing the traditional turban - local urban Hijazis could no longer wear them and had to instead wear the Saudi national dress that included a Ghutrah (/wiki/Keffiyeh) or Shemagh (/wiki/Keffiyeh) instead. [7] (#cite_note-FOOTNOTEAl-Sulaiman201612-7) See also [ edit ] Islam and clothing (/wiki/Islam_and_clothing) Types of hijab (/wiki/Types_of_hijab) Kufiyyah (/wiki/Keffiyeh) Agal (accessory) (/wiki/Agal_(accessory)) Thawb (/wiki/Thawb) Izar (/wiki/Izaar) Bisht (/wiki/Bisht_(clothing)) Litham (/wiki/Litham) Sirwal (/wiki/Sirwal) Taqiyah (/wiki/Taqiyah_(cap)) Portal (/wiki/Wikipedia:Contents/Portals) : Fashion (/wiki/Portal:Fashion) Citations [ edit ] ^ (#cite_ref-FOOTNOTEKhan2014_1-0) Khan 2014 (#CITEREFKhan2014) . ^ (#cite_ref-FOOTNOTEYamaniLindisfame-TapperIngham201457_2-0) Yamani, Lindisfame-Tapper & Ingham 2014 (#CITEREFYamaniLindisfame-TapperIngham2014) , pp. 57. ^ (#cite_ref-FOOTNOTEKuonen202034_3-0) Kuonen 2020 (#CITEREFKuonen2020) , p. 34. ^ (#cite_ref-FOOTNOTEMarrielle2019_4-0) Marrielle 2019 (#CITEREFMarrielle2019) . ^ (#cite_ref-FOOTNOTEYamaniLindisfame-TapperIngham201447_5-0) Yamani, Lindisfame-Tapper & Ingham 2014 (#CITEREFYamaniLindisfame-TapperIngham2014) , pp. 47. ^ (#cite_ref-FOOTNOTEYamaniLindisfame-TapperIngham201456_6-0) Yamani, Lindisfame-Tapper & Ingham 2014 (#CITEREFYamaniLindisfame-TapperIngham2014) , pp. 56. ^ (#cite_ref-FOOTNOTEAl-Sulaiman201612_7-0) Al-Sulaiman 2016 (#CITEREFAl-Sulaiman2016) , p. 12. References [ edit ] Al-Sulaiman, Farrah (2016). One of Us (MFA). Virginia Commonwealth University. Danforth, L.M., 2016. 6. Saving Jeddah, the Bride of the Red Sea. In Crossing the Kingdom (pp. 168-185). University of California Press. Kuonen, Laiza (2020). Völlig entschleiert?: Dschihad im Herzen, nicht aufm Kopf! (in German). BoD - Books on Demand. pp. 30–46. ISBN (/wiki/ISBN_(identifier)) 9783752609219 . Marrielle, Risse (22 June 2019). "Community/Autonomy in Daily Life: People and Places" (https://link.springer.com/chapter/10.1007/978-3-030-17004-2_3) . Community and Autonomy in Southern Oman . pp. 97–148. doi (/wiki/Doi_(identifier)) : 10.1007/978-3-030-17004-2_3 (https://doi.org/10.1007%2F978-3-030-17004-2_3) . ISBN (/wiki/ISBN_(identifier)) 9783030170042 . S2CID (/wiki/S2CID_(identifier)) 201347347 (https://api.semanticscholar.org/CorpusID:201347347) . Retrieved 15 July 2021 . Khan, Uthman (May 2014). "Islamic Clothing, Then and Now" (https://www.researchgate.net/publication/269279292) . researchgate.net . Retrieved 15 July 2021 . Yamani, Mai; Lindisfame-Tapper, Nancy; Ingham, Bruce (2014). "Changing the Habits of a Lifetime: The Adaptation of Hejazi Dress to the New Social Order". Languages of Dress in the Middle East . Oxford: Routledge. pp. 55–66. ISBN (/wiki/ISBN_(identifier)) 9781136803178 . 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Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Hejazi_turban&oldid=1215949323 (https://en.wikipedia.org/w/index.php?title=Hejazi_turban&oldid=1215949323) " Categories (/wiki/Help:Category) : Turbans (/wiki/Category:Turbans) Islamic male clothing (/wiki/Category:Islamic_male_clothing) Hejaz (/wiki/Category:Hejaz) Middle Eastern clothing (/wiki/Category:Middle_Eastern_clothing) Arabic clothing (/wiki/Category:Arabic_clothing) Hidden categories: Articles with short description (/wiki/Category:Articles_with_short_description) Short description is different from Wikidata (/wiki/Category:Short_description_is_different_from_Wikidata) Articles containing Arabic-language text (/wiki/Category:Articles_containing_Arabic-language_text) Pages with plain IPA (/wiki/Category:Pages_with_plain_IPA) All articles with unsourced statements (/wiki/Category:All_articles_with_unsourced_statements) Articles with unsourced statements from July 2021 (/wiki/Category:Articles_with_unsourced_statements_from_July_2021) CS1 German-language sources (de) (/wiki/Category:CS1_German-language_sources_(de)) |
Australian men's swimwear and underwear manufacturer This article has multiple issues. Please help improve it (/wiki/Special:EditPage/AussieBum) or discuss these issues on the talk page (/wiki/Talk:AussieBum) . ( Learn how and when to remove these template messages (/wiki/Help:Maintenance_template_removal) ) This article contains content that is written like an advertisement (/wiki/Wikipedia:What_Wikipedia_is_not#Wikipedia_is_not_a_soapbox_or_means_of_promotion) . Please help improve it (https://en.wikipedia.org/w/index.php?title=AussieBum&action=edit) by removing promotional content (/wiki/Wikipedia:Spam) and inappropriate external links (/wiki/Wikipedia:External_links#Advertising_and_conflicts_of_interest) , and by adding encyclopedic content written from a neutral point of view (/wiki/Wikipedia:Neutral_point_of_view) . ( May 2024 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) This article contains paid contributions. It may require cleanup (/wiki/Wikipedia:Cleanup) to comply with Wikipedia's content policies (/wiki/Wikipedia:Content_policies) , particularly neutral point of view (/wiki/Wikipedia:Neutral_point_of_view) . Please discuss further on the talk page (/wiki/Talk:AussieBum) . ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) aussieBum Company type Private Industry Fashion Founded 2001 Founder Sean Ashby Headquarters Sydney , Australia Area served Worldwide Products Men's swimwear (/wiki/Swimwear) , underwear (/wiki/Underwear) , and clothing Website aussiebum.com (https://www.aussiebum.com/) aussieBum is an Australian (/wiki/Australia) men's swimwear (/wiki/Swimwear) and underwear (/wiki/Underwear) manufacturer. Initially manufactured in Sydney's inner west (/wiki/Inner_West) , a growing number of aussieBum products were later manufactured overseas in China, [1] (#cite_note-1) Bangladesh, [2] (#cite_note-2) Thailand, [3] (#cite_note-3) and Vietnam. [4] (#cite_note-4) Their products are designed and delivered from Sydney, with the business run out of the company's headquarters in the suburb of Leichhardt (/wiki/Leichhardt,_New_South_Wales) . Marketing [ edit ] The company has no sales representatives overseas, and instead promotes with its company website. Australian sales make up 10% of its business. The company has a broad reach for a business run entirely via the Web, with no shop front and minimal packing staff. [5] (#cite_note-International_Herald_Tribune-5) The brand retails in large department stores around the world, such as Selfridges (/wiki/Selfridges) , Harrods (/wiki/Harrods) and House of Fraser (/wiki/House_of_Fraser) in the UK, Printemps (/wiki/Printemps) in Paris, KaDeWe (/wiki/KaDeWe) in Berlin, and Harvey Nichols (/wiki/Harvey_Nichols) in Dubai, as well as in small boutiques in various cities around the world. aussieBum's online store (/wiki/Online_shopping) ships to more than 150 countries. [6] (#cite_note-6) aussieBum's version of Shearing the Rams (/wiki/Shearing_the_Rams) AussieBum promotes its products on various social media platforms such as Facebook (/wiki/Facebook) and Twitter (/wiki/Twitter) . The brand has a popular online following with the aussieBum being the 7th most popular search term in Australia as of April 2008. [5] (#cite_note-International_Herald_Tribune-5) The brand uses a distinctly cheeky advertising style, such as remaking the Australian painting Shearing the Rams (/wiki/Shearing_the_Rams) with muscle-bound men shearing sheep in just their underwear. [7] (#cite_note-7) AussieBum swimwear has been featured in music video clips Slow by Kylie Minogue (/wiki/Kylie_Minogue) and SuperMartXé VIP. In 2011, during the first episode of The Celebrity Apprentice Australia (/wiki/The_Celebrity_Apprentice_Australia) , director Sean Ashby gave $50,000 to charity when politician Pauline Hanson (/wiki/Pauline_Hanson) washed his car wearing aussieBum underwear, plus an additional $10,000 for Deni Hines (/wiki/Deni_Hines) to sing the national anthem. [8] (#cite_note-8) Products [ edit ] aussieBum men's briefs (/wiki/Briefs) , Ice Blue in colour aussieBum men's Jockstrap (/wiki/Jockstrap) , with the Wonderjock Technology Wonderjock [ edit ] In November 2006, the Wonderjock was launched in the aussieBum underwear lines. Wonderjocks have been designed to lift and enhance a man's "package", through the use of a fabric cup used to protrude everything out instead of just down. 50,000 pairs of the new underwear were sold in the first seven days of being released. [9] (#cite_note-9) See also [ edit ] Companies portal (/wiki/Portal:Companies) Fashion portal (/wiki/Portal:Fashion) Australia portal (/wiki/Portal:Australia) Wikimedia Commons has media related to AussieBum (https://commons.wikimedia.org/wiki/Category:AussieBum) . List of swimwear brands (/wiki/List_of_swimwear_brands) Speedo (suit style) (/wiki/Speedo_(suit_style)) References [ edit ] ^ (#cite_ref-1) "Bodystretch Army/Green/Trunk" (https://www.aussiebum.com/mens/underwear/trunk/bodystretch-army/4680) . www.aussiebum.com . Retrieved 29 November 2019 . ^ (#cite_ref-2) "Longline Tank - Apollo" (https://web.archive.org/web/20170421091702/http://www.aussiebum.com/t_shirts/longline-tank-apollo/3554) . www.aussiebum.com . Archived from the original (https://www.aussiebum.com/t_shirts/longline-tank-apollo/3554) on 21 April 2017 . Retrieved 20 April 2017 . ^ (#cite_ref-3) "Drylite Surf Short - Red" (https://web.archive.org/web/20170421000940/http://www.aussiebum.com/t_shirts/drylite-surf-short-red/3634) . www.aussiebum.com . Archived from the original (https://www.aussiebum.com/t_shirts/drylite-surf-short-red/3634) on 21 April 2017 . Retrieved 20 April 2017 . ^ (#cite_ref-4) "Chino short - King" (https://web.archive.org/web/20170421091832/http://www.aussiebum.com/t_shirts/chino-short-king/3566) . www.aussiebum.com . Archived from the original (https://www.aussiebum.com/t_shirts/chino-short-king/3566) on 21 April 2017 . Retrieved 20 April 2017 . ^ Jump up to: a b International Herald Tribune (21 January 2008). "Aussiebum: Down Under designs in more ways than one" (http://www.iht.com/articles/2008/01/21/style/raus.php) . Archived (https://web.archive.org/web/20080529033948/http://www.iht.com/articles/2008/01/21/style/raus.php) from the original on 29 May 2008 . Retrieved 23 May 2008 . ^ (#cite_ref-6) The Daily Telegraph (3 November 2006). "Wonderbra for men 'enhances' (https://web.archive.org/web/20071228224340/http://www.news.com.au/story/0%2C23599%2C20693132-2%2C00.html) " (https://web.archive.org/web/20071228224340/http://www.news.com.au/story/0%2C23599%2C20693132-2%2C00.html) . The Daily Telegraph . UK. Archived from the original (http://www.news.com.au/story/0,23599,20693132-2,00.html) on 28 December 2007 . Retrieved 18 April 2007 . ^ (#cite_ref-7) Byrnes, Holly (30 September 2006). "Daily Telegraph: Shear art attack" (https://web.archive.org/web/20071228220414/http://www.news.com.au/dailytelegraph/story/0,22049,20500041-5006009,00.html) . The Daily Telegraph . AU. Archived from the original (http://www.news.com.au/dailytelegraph/story/0,22049,20500041-5006009,00.html) on 28 December 2007 . Retrieved 25 October 2019 . ^ (#cite_ref-8) Christie, Joel (14 September 2011). "AussieBum gives Pauline Hanson $50,000 to strip to her underwear in Celebrity Apprentice car wash" (http://www.dailytelegraph.com.au/entertainment/sydney-confidential/pauline-hanson-strips-down-to-her-underwear-for-60000-car-wash-in-celebrity-apprentice-at-crystal-car-wash-bondi/story-e6frewz0-1226137028918) . Sydney Confidential The Daily Telegraph . AU . Retrieved 15 December 2011 . ^ (#cite_ref-9) The Daily Telegraph (1 November 2006). "Daily Telegraph: Market grows for under wonder" (https://www.reuters.com/article/internetNews/idUSSYD17865120061102) . Reuters . 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Not-for-profit trade association Council of Fashion Designers of America Abbreviation CFDA Formation 1962 ; 62 years ago ( 1962 ) Founder Eleanor Lambert (/wiki/Eleanor_Lambert) Type Trade association (/wiki/Trade_association) Legal status Nonprofit organization (/wiki/Nonprofit_organization) Purpose To strengthen the impact of American fashion in the global economy Location Manhattan (/wiki/Manhattan) , New York City (/wiki/New_York_City) Fields Fashion (/wiki/Fashion) Membership (2019) 484 [1] (#cite_note-1) Chairman Thom Browne (/wiki/Thom_Browne) CEO Steven Kolb (/wiki/Steven_Kolb) Website cfda (https://cfda.com/) .com (https://cfda.com/) The Council of Fashion Designers of America, Inc. ( CFDA ), founded in 1962 by publicist (/wiki/Publicist) Eleanor Lambert (/wiki/Eleanor_Lambert) , [2] (#cite_note-Founding-2) and headquartered (/wiki/Headquarter) in Manhattan (/wiki/Manhattan) , is a not-for-profit (/wiki/Not-for-profit) trade association (/wiki/Trade_association) comprising a membership of over 450 American fashion (/wiki/Fashion_designer) and accessory designers. The organization promotes American designers in the global economy. In addition to hosting the annual CFDA Fashion Awards, the organization develops future American design talent through scholarships and resources in high schools, colleges, and postgraduate (/wiki/Postgraduate_education) schools. The CFDA also provides funding and business opportunities for working designers. Through the CFDA Foundation, the organization supports charitable causes. History [ edit ] The first president of the CFDA was Sydney Wragge (/wiki/Sydney_Wragge) [3] (#cite_note-History-3) (from 1962 until 1965). Steven Kolb (/wiki/Steven_Kolb) has been the CEO since 2006. As of January 2023, Thom Browne (/wiki/Thom_Browne) is the group's chairman; he follows Tom Ford, who served as chairman for three years. Additionally, Diane von Furstenberg (/wiki/Diane_von_Furstenberg) served as chairman for 13 years from 2006 until 2019. [4] (#cite_note-4) The following people were founding members of the CFDA from 1962: Bill Blass (/wiki/Bill_Blass) [5] (#cite_note-:0-5) Donald Brooks (/wiki/Donald_Brooks) [6] (#cite_note-:1-6) Betty Carol [6] (#cite_note-:1-6) Jane Derby (/wiki/Jane_Derby) [6] (#cite_note-:1-6) Luis Estevez (/wiki/Luis_Estevez) [7] (#cite_note-7) David Evins [6] (#cite_note-:1-6) Rudi Gernreich (/wiki/Rudi_Gernreich) [5] (#cite_note-:0-5) Bud Kilpatrick [6] (#cite_note-:1-6) Helen Lee (/wiki/Helen_Lee_(American_fashion_designer)) [6] (#cite_note-:1-6) Jean Louis (/wiki/Jean_Louis) [6] (#cite_note-:1-6) John Moore [6] (#cite_note-:1-6) Norman Norell (/wiki/Norman_Norell) [5] (#cite_note-:0-5) Sylvia Pedlar (/wiki/Sylvia_Pedlar) [6] (#cite_note-:1-6) Sarmi [6] (#cite_note-:1-6) Arnold Scaasi (/wiki/Arnold_Scaasi) [5] (#cite_note-:0-5) Adele Simpson (/wiki/Adele_Simpson) [6] (#cite_note-:1-6) Gustave Tassell (/wiki/Gustave_Tassell) Pauline Trigère (/wiki/Pauline_Trig%C3%A8re) [5] (#cite_note-:0-5) Sydney Wragge (/wiki/Sydney_Wragge) [6] (#cite_note-:1-6) Ben Zuckerman (/wiki/Ben_Zuckerman) [6] (#cite_note-:1-6) CFDA Fashion Awards [ edit ] The CFDA Fashion Awards were founded in 1980 with the first awards given in 1981. They honor and showcase excellence in fashion design (/wiki/Fashion_design) . [8] (#cite_note-8) The CFDA Fashion Awards were created by the Council of Fashion Designers of America. They have been called " the Oscars (/wiki/The_Oscars) of fashion". [9] (#cite_note-9) [10] (#cite_note-10) Prior to the establishment of the CFDA Awards, the Coty Awards (/wiki/Coty_Award) fulfilled a similar role until they ended in 1985, with the final Coty Awards bestowed in September 1984. [11] (#cite_note-11) [12] (#cite_note-:22-12) In 1997, the CFDA Fashion Awards made a decision to open the doors to young and upcoming designers. [13] (#cite_note-13) [14] (#cite_note-OpensDoor2-14) Nominations are submitted by the Fashion Guild, a group of over 1,500 CFDA members including fashion editors, retailers, and stylists. [15] (#cite_note-CFDA_Annual_Report2-15) Award winners are determined by vote and announced at an annual black tie event held in Manhattan (/wiki/Manhattan) . Award winners receive a trophy made by the New York firm Society Awards (/wiki/Society_Awards) . [16] (#cite_note-16) A number of honorary awards are also presented on the night. As of 2023 these include the Geoffrey Beene (/wiki/Geoffrey_Beene) Lifetime Achievement Award , named for the four-time CFDA Fashion Award winner; the Media Award , given in honor of Eugenia Sheppard (/wiki/Eugenia_Sheppard) , the influential New York Herald Tribune (/wiki/New_York_Herald_Tribune) journalist; the Founders Award , given in honor of CFDA founder Eleanor Lambert (/wiki/Eleanor_Lambert) ; The Board of Director’s Tribute Award; the International Award , and the Fashion Icon award, which was first introduced in 2010 . For the 2022 and 2023 editions, Amazon (/wiki/Amazon_(company)) Fashion sponsored the event. [17] (#cite_note-17) [18] (#cite_note-18) 1980s [ edit ] CFDA Fashion Award winners Year Geoffrey Beene (/wiki/Geoffrey_Beene) Lifetime Achievement Award Womenswear Designer Menswear Designer Accessory Designer Emerging Talent Award for Ready-to-Wear Notes 1981 Fernando Sanchez (/wiki/Fernando_S%C3%A1nchez_(designer)) Jhane Barnes (/wiki/Jhane_Barnes) [19] (#cite_note-10_CFDA_Winners_You've_Probably_Never_Heard_Of-19) 1982 1983 Patricia Underwood (/wiki/Patricia_Underwood) [6] (#cite_note-:1-6) 1984 James Galanos (/wiki/James_Galanos) 1985 Katharine Hepburn (/wiki/Katharine_Hepburn) Donna Karan (/wiki/Donna_Karan) 1986 Bill Blass (/wiki/Bill_Blass) 1987 Giorgio Armani (/wiki/Giorgio_Armani) Ronaldus Shamask (/wiki/Ronaldus_Shamask) Marc Jacobs (/wiki/Marc_Jacobs) 1988 Richard Avedon (/wiki/Richard_Avedon) ; Nancy Reagan (/wiki/Nancy_Reagan) Bill Robinson (/wiki/Bill_Robinson_(fashion_designer)) 1989 Oscar de la Renta (/wiki/Oscar_de_la_Renta) Isaac Mizrahi (/wiki/Isaac_Mizrahi) Joseph Abboud (/wiki/Joseph_Abboud) [20] (#cite_note-20) 1990s [ edit ] CFDA Fashion Award winners Year Geoffrey Beene (/wiki/Geoffrey_Beene) Lifetime Achievement Award Womenswear Designer Menswear Designer Accessory Designer Emerging Talent Award for Ready-to-Wear International Award Notes 1990 Martha Graham (/wiki/Martha_Graham) Donna Karan (/wiki/Donna_Karan) Joseph Abboud (/wiki/Joseph_Abboud) Christian Francis Roth (/wiki/Christian_Francis_Roth) 1991 Ralph Lauren (/wiki/Ralph_Lauren) Isaac Mizrahi (/wiki/Isaac_Mizrahi) Roger Forsythe (/wiki/Roger_Forsythe) Karl Lagerfeld (/wiki/Karl_Lagerfeld) ( Germany (/wiki/Germany) ) for Chanel (/wiki/Chanel) 1992 1993 1994 1995 1996 Shew York Donna Karan Daryl Kerrigan (/wiki/Daryl_Kerrigan) for Daryl K (womenswear) 1997 Geoffrey Beene (/wiki/Geoffrey_Beene) Marc Jacobs (/wiki/Marc_Jacobs) John Bartlett John Galliano (/wiki/John_Galliano) ( Great Britain (/wiki/United_Kingdom) ) for Dior (/wiki/Dior) [14] (#cite_note-OpensDoor2-14) 1999 Yves Saint Laurent (/wiki/Yves_Saint_Laurent_(designer)) Michael Kors (/wiki/Michael_Kors) Calvin Klein (/wiki/Calvin_Klein) Yohji Yamamoto (/wiki/Yohji_Yamamoto) ( Japan (/wiki/Japan) ) 2000s [ edit ] CFDA Fashion Award winners Year Geoffrey Beene (/wiki/Geoffrey_Beene) Lifetime Achievement Award Womenswear Designer Menswear Designer Accessory Designer Emerging Talent Award for Ready-to-Wear International Award Notes 2000 Valentino (/wiki/Valentino_SpA) Oscar de la Renta (/wiki/Oscar_de_la_Renta) Helmut Lang (/wiki/Helmut_Lang_(fashion_designer)) Miguel Adrover (/wiki/Miguel_Adrover) (womenswear) and John Varvatos (/wiki/John_Varvatos) (menswear) Jean-Paul Gaultier (/wiki/Jean-Paul_Gaultier) ( France (/wiki/France) ) 2001 Calvin Klein (/wiki/Calvin_Klein) Tom Ford (/wiki/Tom_Ford) John Varvatos (/wiki/John_Varvatos) Daphne Gutierrez and Nicole Noselli for Bruce (womenswear) and William Reid (/wiki/Billy_Reid_(fashion_designer)) (menswear) Nicolas Ghesquiere (/wiki/Nicolas_Ghesquiere) ( France (/wiki/France) ) for Balenciaga (/wiki/Balenciaga) 2002 Karl Lagerfeld (/wiki/Karl_Lagerfeld) Narciso Rodriguez (/wiki/Narciso_Rodriguez) Marc Jacobs (/wiki/Marc_Jacobs) Rick Owens (/wiki/Rick_Owens) Hedi Slimane (/wiki/Hedi_Slimane) ( France (/wiki/France) ) for Dior Homme (/wiki/Dior_Homme) 2003 Anna Wintour (/wiki/Anna_Wintour) Narciso Rodriguez (/wiki/Narciso_Rodriguez) Michael Kors (/wiki/Michael_Kors) Lazaro Hernandez (/wiki/Lazaro_Hernandez) and Jack McCollough (/wiki/Jack_McCollough) for Proenza Schouler (/wiki/Proenza_Schouler) Alexander McQueen (/wiki/Alexander_McQueen) ( Great Britain (/wiki/United_Kingdom) ) 2004 Donna Karan (/wiki/Donna_Karan) Carolina Herrera (/wiki/Carolina_Herrera_(fashion_designer)) Sean Combs (/wiki/Sean_Combs) for Sean John (/wiki/Sean_John) Zac Posen (/wiki/Zac_Posen) Miuccia Prada (/wiki/Miuccia_Prada) ( Italy (/wiki/Italy) ) 2005 Diane von Fürstenberg (/wiki/Diane_von_F%C3%BCrstenberg) Vera Wang (/wiki/Vera_Wang) John Varvatos (/wiki/John_Varvatos) Derek Lam (/wiki/Derek_Lam) (womenswear) and Alexandre Plokhov (/wiki/Alexandre_Plokhov) for Cloak (/wiki/Cloak) (menswear) Alber Elbaz (/wiki/Alber_Elbaz) ( Israel (/wiki/Israel) ) for Lanvin (/wiki/Lanvin_(clothing)) 2006 Stan Herman (/wiki/Stan_Herman) Francisco Costa (/wiki/Francisco_Costa_(designer)) for Calvin Klein (/wiki/Calvin_Klein) Thom Browne (/wiki/Thom_Browne) Doo-Ri Chung (/wiki/Doo-Ri_Chung) (womenswear) and Jeff Halmos, Josia Lamberto-Egan, Sam Shipley, & John Whitledge for Trovata (menswear) Olivier Theyskens (/wiki/Olivier_Theyskens) ( Belgium (/wiki/Belgium) ) for Rochas (/wiki/Rochas) 2007 Robert Lee Morris (/wiki/Robert_Lee_Morris) Oscar de la Renta (/wiki/Oscar_de_la_Renta) , and Lazaro Hernandez & Jack McCollough for Proenza Schouler (/wiki/Proenza_Schouler) Ralph Lauren (/wiki/Ralph_Lauren) Phillip Lim (/wiki/Phillip_Lim) (womenswear) and David Neville & Marcus Wainwright for Rag & Bone (/wiki/Rag_%26_Bone) Pierre Cardin (/wiki/Pierre_Cardin) ( France (/wiki/France) ) 2008 Carolina Herrera (/wiki/Carolina_Herrera_(fashion_designer)) Francisco Costa (/wiki/Francisco_Costa_(designer)) for Calvin Klein (/wiki/Calvin_Klein) Tom Ford (/wiki/Tom_Ford) Kate and Laura Mulleavy (/wiki/Kate_and_Laura_Mulleavy) Rodarte (/wiki/Rodarte) (womenswear); Scott Sternberg (/wiki/Scott_Sternberg_(designer)) for Band of Outsiders (menswear); Philip Crangi (accessories) Dries van Noten (/wiki/Dries_van_Noten) ( Belgium (/wiki/Belgium) ) 2009 Anna Sui (/wiki/Anna_Sui) Kate & Laura Mulleavy (/wiki/Kate_and_Laura_Mulleavy) for Rodarte (/wiki/Rodarte) Scott Sternberg (/wiki/Scott_Sternberg_(designer)) for Band of Outsiders (/wiki/Band_of_Outsiders) and Italo Zucchelli (/wiki/Italo_Zucchelli) for Calvin Klein Collection (/wiki/Calvin_Klein_Collection) Lazaro Hernandez (/wiki/Lazaro_Hernandez) and Jack McCollough (/wiki/Jack_McCollough) for Proenza Schouler (/wiki/Proenza_Schouler) Alexander Wang (/wiki/Alexander_Wang_(designer)) (womenswear); Tim Hamilton (/wiki/Tim_Hamilton_(designer)) (menswear); Justin Giunta for Subversive Jewelry (accessories) Marc Jacobs (/wiki/Marc_Jacobs) ( United States (/wiki/United_States) ) for Louis Vuitton (/wiki/Louis_Vuitton) [21] (#cite_note-21) [22] (#cite_note-22) 2010s [ edit ] 2010 saw the introduction of the honarary Fashion Icon award with model Iman (/wiki/Iman_(model)) being the first recipient. [23] (#cite_note-:3-23) In 2017, the CFDA introduced a single unified award for Emerging Talent that applies across womenswear, menswear and accessory design. Additionally, the CFDA added the Award for Positive Change , which honors an individual in the U.S. fashion industry who has made a positive impact on American communities and has improved the welfare of others. [24] (#cite_note-:2-24) For their 15th edition in 2016, and after seven years at Alice Tully Hall (/wiki/Alice_Tully_Hall) at the Lincoln Center (/wiki/Lincoln_Center) , the CFDA Fashion Awards moved venue to the Hammerstein Ballroom (/wiki/Hammerstein_Ballroom) . [25] (#cite_note-25) In 2018 and 2019, the award ceremonies were held at the Brooklyn Museum (/wiki/Brooklyn_Museum) . [26] (#cite_note-:4-26) CFDA Fashion Award winners Year Geoffrey Beene (/wiki/Geoffrey_Beene) Lifetime Achievement Award Womenswear Designer Menswear Designer Accessory Designer Emerging Talent Award International Award Fashion Icon Notes 2010 Michael Kors (/wiki/Michael_Kors) Marc Jacobs (/wiki/Marc_Jacobs) Marcus Wainwright and David Neville for Rag & Bone (/wiki/Rag_%26_Bone) Alexis Bittar (/wiki/Alexis_Bittar) Jason Wu (/wiki/Jason_Wu) (womenswear); Richard Chai (/wiki/Richard_Chai) (menswear); Alexander Wang (/wiki/Alexander_Wang_(designer)) (accessories) Christopher Bailey (/wiki/Christopher_Bailey_(fashion_designer)) ( Great Britain (/wiki/United_Kingdom) ) for Burberry (/wiki/Burberry) Iman (/wiki/Iman_(model)) [23] (#cite_note-:3-23) 2011 Marc Jacobs (/wiki/Marc_Jacobs) Lazaro Hernandez (/wiki/Lazaro_Hernandez) and Jack McCollough (/wiki/Jack_McCollough) for Proenza Schouler (/wiki/Proenza_Schouler) Michael Bastian (/wiki/Michael_Bastian) Alexander Wang (/wiki/Alexander_Wang_(designer)) Prabal Gurung (/wiki/Prabal_Gurung) (womenswear); Robert Geller (/wiki/Robert_Geller) (menswear); Eddie Borgo (accessories) Phoebe Philo (/wiki/Phoebe_Philo) ( Great Britain (/wiki/United_Kingdom) ) for Céline (/wiki/C%C3%A9line_(brand)) Lady Gaga (/wiki/Lady_Gaga) [27] (#cite_note-27) [28] (#cite_note-28) 2012 Tommy Hilfiger (/wiki/Tommy_Hilfiger) Ashley Olsen (/wiki/Ashley_Olsen) and Mary-Kate Olsen (/wiki/Mary-Kate_Olsen) for The Row (/wiki/The_Row_(fashion_label)) Billy Reid (/wiki/Billy_Reid_(fashion_designer)) Reed Krakoff (/wiki/Reed_Krakoff) Joseph Altuzarra (/wiki/Joseph_Altuzarra) (womenswear); Phillip Lim (/wiki/Phillip_Lim) (menswear); Tabitha Simmons (/wiki/Tabitha_Simmons) (accessories) Rei Kawakubo (/wiki/Rei_Kawakubo) ( Japan (/wiki/Japan) ) for Comme des Garçons (/wiki/Comme_des_Gar%C3%A7ons) Johnny Depp (/wiki/Johnny_Depp) [29] (#cite_note-29) [30] (#cite_note-30) 2013 Vera Wang (/wiki/Vera_Wang) Lazaro Hernandez (/wiki/Lazaro_Hernandez) and Jack McCollough (/wiki/Jack_McCollough) for Proenza Schouler (/wiki/Proenza_Schouler) Thom Browne (/wiki/Thom_Browne) Phillip Lim (/wiki/Phillip_Lim) Erin Beatty and Max Osterweis for Suno (womenswear); Dao-Yi Chow and Maxwell Osborne for Public School (menswear); Pamela Love (/wiki/Pamela_Love) (accessories) Riccardo Tisci (/wiki/Riccardo_Tisci) ( Italy (/wiki/Italy) ) for Givenchy (/wiki/Givenchy) [31] (#cite_note-31) [32] (#cite_note-32) 2014 Tom Ford (/wiki/Tom_Ford) Joseph Altuzarra (/wiki/Joseph_Altuzarra) Dao-Yi Chow and Maxwell Osborne for Public School Ashley Olsen (/wiki/Ashley_Olsen) and Mary-Kate Olsen (/wiki/Mary-Kate_Olsen) for The Row (/wiki/The_Row_(fashion_label)) Shane Gabier and Christopher Peters for Creatures of the Wind (womenswear); Tim Coppens (/wiki/Tim_Coppens) (menswear); Irene Neuwirth (accessories) Raf Simons (/wiki/Raf_Simons) ( Belgium (/wiki/Belgium) ) for Dior (/wiki/Dior) Rihanna (/wiki/Rihanna) [33] (#cite_note-33) [34] (#cite_note-2014_NOMINEES-34) [35] (#cite_note-35) [36] (#cite_note-36) 2015 Betsey Johnson (/wiki/Betsey_Johnson) Ashley Olsen (/wiki/Ashley_Olsen) and Mary-Kate Olsen (/wiki/Mary-Kate_Olsen) for The Row (/wiki/The_Row_(fashion_label)) Tom Ford (/wiki/Tom_Ford) Tabitha Simmons (/wiki/Tabitha_Simmons) Rosie Assoulin (womenswear); Shayne Oliver (/wiki/Shayne_Oliver) for Hood by Air (/wiki/Hood_by_Air) (menswear); Rachel Mansur and Floriana Gavriel for Mansur Gavriel (accessories) Maria Grazia Chiuri (/wiki/Maria_Grazia_Chiuri) and Pierpaolo Piccioli (/wiki/Pierpaolo_Piccioli) ( Italy (/wiki/Italy) ) for Valentino (/wiki/Valentino_SpA) Pharrell Williams (/wiki/Pharrell_Williams) [37] (#cite_note-37) [38] (#cite_note-38) [39] (#cite_note-39) [40] (#cite_note-40) 2016 Norma Kamali (/wiki/Norma_Kamali) Marc Jacobs (/wiki/Marc_Jacobs) Thom Browne (/wiki/Thom_Browne) Rachel Mansur and Floriana Gavriel for Mansur Gavriel Brandon Maxwell (/wiki/Brandon_Maxwell) (womenswear); Alex Orley, Matthew Orley, and Samantha Orley (menswear); Paul Andrew (/wiki/Paul_Andrew_(designer)) (accessories) Alessandro Michele (/wiki/Alessandro_Michele) ( Italy (/wiki/Italy) ) for Gucci (/wiki/Gucci) Beyoncé (/wiki/Beyonc%C3%A9) [41] (#cite_note-41) [42] (#cite_note-42) [43] (#cite_note-43) [44] (#cite_note-44) 2017 Rick Owens (/wiki/Rick_Owens) Raf Simons (/wiki/Raf_Simons) for Calvin Klein (/wiki/Calvin_Klein) Raf Simons (/wiki/Raf_Simons) for Calvin Klein (/wiki/Calvin_Klein) Stuart Vevers (/wiki/Stuart_Vevers) for Coach (/wiki/Coach_New_York) Laura Kim and Fernando Garcia for Monse Demna Gvasalia (/wiki/Demna_Gvasalia) ( Georgia (/wiki/Georgia_(country)) ) for Vetements (/wiki/Vetements) and Balenciaga (/wiki/Balenciaga) Franca Sozzani (/wiki/Franca_Sozzani) ( posthumous (/wiki/Posthumous_award) ) [45] (#cite_note-45) [24] (#cite_note-:2-24) [46] (#cite_note-46) 2018 Narciso Rodriguez (/wiki/Narciso_Rodriguez) Raf Simons (/wiki/Raf_Simons) for Calvin Klein (/wiki/Calvin_Klein) Supreme (/wiki/Supreme_(brand)) Ashley Olsen (/wiki/Ashley_Olsen) and Mary-Kate Olsen (/wiki/Mary-Kate_Olsen) for The Row (/wiki/The_Row_(fashion_label)) Sander Lak for Sies Marjan Donatella Versace (/wiki/Donatella_Versace) ( Italy (/wiki/Italy) ) Naomi Cambell (/wiki/Naomi_Campbell) [47] (#cite_note-47) [26] (#cite_note-:4-26) [48] (#cite_note-48) [49] (#cite_note-49) 2019 Bob Mackie (/wiki/Bob_Mackie) Brandon Maxwell (/wiki/Brandon_Maxwell) Rick Owens (/wiki/Rick_Owens) Ashley Olsen (/wiki/Ashley_Olsen) and Mary-Kate Olsen (/wiki/Mary-Kate_Olsen) for The Row (/wiki/The_Row_(fashion_label)) Emily Adams Bode (/wiki/Emily_Adams_Bode_Aujla) for Bode (/wiki/Bode_(fashion_brand)) Sarah Burton (/wiki/Sarah_Burton) ( Great Britain (/wiki/United_Kingdom) ) for Alexander McQueen (/wiki/Alexander_McQueen_(brand)) Jennifer Lopez (/wiki/Jennifer_Lopez) [50] (#cite_note-50) [51] (#cite_note-51) [52] (#cite_note-52) [53] (#cite_note-53) 2020s [ edit ] The 19th edition in 2020 saw a virtual ceremony due to the COVID-19 (/wiki/COVID-19) pandemic, which took place on 14 September. [54] (#cite_note-:5-54) There were no honorary awards bestowed in this year, but the International Award was split into Women's and Men's sub-categories for the first time. 2021 saw the return of a live in-person event, held at The Pool + The Grill (/wiki/Four_Seasons_Restaurant#Pool_Room_and_Grill_Room) in the Seagram Building (/wiki/Seagram_Building) on Park Avenue (/wiki/Park_Avenue) . [55] (#cite_note-:6-55) In 2022, the venue for the ceremony was Casa Cipriani (/wiki/Casa_Cipriani) in Manhattan (/wiki/Manhattan) . In 2023 it moved once again, this time to the American Museum of Natural History (/wiki/American_Museum_of_Natural_History) . CFDA Fashion Award winners Year Geoffrey Beene (/wiki/Geoffrey_Beene) Lifetime Achievement Award Womenswear Designer Menswear Designer Accessory Designer Emerging Talent Award International Award Fashion Icon Notes 2020 Not awarded Gabriela Hearst (/wiki/Gabriela_Hearst) Kerby Jean-Raymond (/wiki/Kerby_Jean-Raymond) for Pyer Moss (/wiki/Pyer_Moss) Telfar Clemens (/wiki/Telfar_Clemens) Christopher John Rogers (/wiki/Christopher_John_Rogers) Pierpaolo Piccioli (/wiki/Pierpaolo_Piccioli) ( Italy (/wiki/Italy) ) for Valentino (/wiki/Valentino_(fashion_house)) (womenswear) Kim Jones (/wiki/Kim_Jones_(designer)) ( Great Britain (/wiki/United_Kingdom) ) for Dior (/wiki/Dior) (menswear) Not awarded [56] (#cite_note-56) [54] (#cite_note-:5-54) [57] (#cite_note-57) [58] (#cite_note-58) 2021 Dapper Dan (/wiki/Dapper_Dan_(designer)) Christopher John Rogers (/wiki/Christopher_John_Rogers) Emily Adams Bode Aujla (/wiki/Emily_Adams_Bode_Aujla) for Bode (/wiki/Bode_(fashion_brand)) Telfar Clemens (/wiki/Telfar_Clemens) Edvin Thompson for Theophilio Demna (/wiki/Demna_(designer)) ( Georgia (/wiki/Georgia_(country)) ) for Balenciaga (/wiki/Balenciaga) (womenswear) Grace Wales Bonner (/wiki/Grace_Wales_Bonner) ( Great Britain (/wiki/United_Kingdom) ) (menswear) Zendaya (/wiki/Zendaya) [55] (#cite_note-:6-55) [59] (#cite_note-59) 2022 Laurie Lynn Stark and Richard Stark (/wiki/Richard_Stark_(designer)) of Chrome Hearts (/wiki/Chrome_Hearts) Catherine Holstein for Khaite Emily Adams Bode Aujla (/wiki/Emily_Adams_Bode_Aujla) for Bode (/wiki/Bode_(fashion_brand)) Raul Lopez for Luar Elena Velez (/wiki/Elena_Velez) Not awarded Lenny Kravitz (/wiki/Lenny_Kravitz) [60] (#cite_note-60) [61] (#cite_note-61) [62] (#cite_note-62) 2023 Maria Cornejo (/wiki/Maria_Cornejo) Catherine Holstein for Khaite Willy Chavarria (/wiki/Willy_Chavarria) Ashley Olsen (/wiki/Ashley_Olsen) and Mary-Kate Olsen (/wiki/Mary-Kate_Olsen) for The Row (/wiki/The_Row_(fashion_label)) Diotima Jonathan Anderson (/wiki/Jonathan_Anderson_(fashion_designer)) ( Great Britain (/wiki/United_Kingdom) ) for JW Anderson (/wiki/JW_Anderson) and Loewe (/wiki/Loewe_(fashion_brand)) Serena Williams (/wiki/Serena_Williams) [63] (#cite_note-63) [64] (#cite_note-64) [65] (#cite_note-65) Collaborations [ edit ] In 2010, the CFDA/ Vogue (/wiki/Vogue_(magazine)) Fashion Fund finalists Monique Péan (/wiki/Monique_P%C3%A9an) , Patrik Ervell (/wiki/Patrik_Ervell) , and Sophie Theallet (/wiki/Sophie_Theallet) teamed up with Gap Inc. (/wiki/Gap_Inc.) [66] (#cite_note-CFDA_Runners_Up_of_2013-66) In 2012 and 2013 the CFDA/Vogue Fashion Fund winners and runners-up each created capsule collections with J. Crew (/wiki/J._Crew) . In celebration of the organization's 50th Anniversary, Target and Neiman Marcus (/wiki/Neiman_Marcus) partnered with 24 CFDA members to create a special holiday collection that was available at both retailers. Additionally, the CFDA has partnered with Kohl's (/wiki/Kohl%27s) on designer collaborations such as Derek Lam for Kohl's and most recently, Catherine Malandrino for Kohl's. On October 3, 2013, the CFDA and Google+ (/wiki/Google%2B) launched an innovative shopping tool, titled "Shoppable Hangouts", where users had the ability to shop Hangouts on Air (HOA). The CFDA kicked off the product launch with CFDA President Diane von Fürstenberg. Rachel Zoe (/wiki/Rachel_Zoe) , Marcus Wainwright and David Neville of rag & bone (/wiki/Rag_%26_bone) , and Rebecca Minkoff (/wiki/Rebecca_Minkoff) also participated in the Shoppable Hangout experience. Programs [ edit ] CFDA/Vogue Fashion Fund [ edit ] The CFDA and Vogue Magazine have created an endowment for the stated purpose of funding significant financial awards to one or more designers and provide business mentoring. Awarded recipients are selected by a committee of industry experts. The CFDA/Vogue Fashion Fund Selection Committee annually selects three emerging fashion designers, who receive: Business mentoring from an established team of fashion industry professionals, in areas such as business planning, marketing, sourcing, production, exporting etc. To encourage and enable the recipients to pursue his/her own independent design plan (one winner at $300,000 and two runners-up at $100,000 each). 2010s Finalists and Winners [ edit ] 2014: Paul Andrew (/wiki/Paul_Andrew_(designer)) (Winner), [67] (#cite_note-67) Wes Gordon (/wiki/Wes_Gordon) , Edie Parker and Simon Miller 2015: Becca McCharen-Tran (/wiki/Becca_McCharen-Tran) of Chromat (/wiki/Chromat) ; Rio Uribe of Gypsy Sport (/wiki/Gypsy_Sport) (Winner) [68] (#cite_note-68) 2017: Chromat (/wiki/Chromat) : [69] (#cite_note-69) Becca McCharen-Tran (/wiki/Becca_McCharen-Tran) (Runner Up), Telfar Clemens (/wiki/Telfar_Clemens) (Winner) [70] (#cite_note-70) 2018: Kerby Jean-Raymond (/wiki/Kerby_Jean-Raymond) (Winner) [71] (#cite_note-71) [72] (#cite_note-72) 2019: Abdul Abasi and Greg Rosborough of Abasi Rosborough; Alejandra Alonso Rojas; Victor Barragan of Barragán (/w/index.php?title=Barrag%C3%A1n_(fashion_brand)&action=edit&redlink=1) ; Hillary Taymour of Collina Strada (/w/index.php?title=Collina_Strada&action=edit&redlink=1) , Danielle Hirsch of Danielle Frankel; Raffaella Hanley of Lou Dallas; Siying Qu and Haoran Li of Private Policy; Reese Cooper; Natalie Ratabesi of Tre by Natalie Ratabesi; and Christopher John Rogers (/wiki/Christopher_John_Rogers) (Winner) [73] (#cite_note-73) 2020s Expansion and Winners [ edit ] In 2021 and 2022, all 10 finalist designers were granted resources including funds and mentorship. Global editorial director of Vogue (/wiki/Vogue_(magazine)) and chief content officer of Condé Nast (/wiki/Cond%C3%A9_Nast) , Anna Wintour (/wiki/Anna_Wintour) , made a public statement noting that "After an incredibly challenging time for all of us in fashion, especially here in New York, we're thrilled that this year we are able to support all of our finalists." [74] (#cite_note-74) This was to address the challenges the American fashion industry is facing. [75] (#cite_note-CFDA-75) 2021: Batsheva Hay of Batsheva (/wiki/Batsheva_Hay) ; Mike Eckhaus and Zoe Latta of Eckhaus Latta (/wiki/Eckhaus_Latta) ; Anifa Mvuemba of Hanifa; Rebecca Henry and Akua Shabaka of House of Aama; Kenneth Nicholson; Jameel Mohammed of Khiry; LaQuan Smith (/wiki/LaQuan_Smith) ; Abrima Erwiah of Studio 189; Edvin Thompson of Theophilio; and Willy Chavarria [76] (#cite_note-76) 2022: Jacques Agbobly of Black Boy Knits; Elena Velez (/wiki/Elena_Velez) ; Felisha Noel of Fe Noel; Lauren Harwell Godfrey of Harwell Godfrey; Taofeek Abijako of head of State; Conley Averett of Judy Turner; Colm Dillane of Kidsuper; Pia Davis and Autumn Randolph of No Sesso; Omar Salam of Sukeina; and, Jackson Wiederhoeft of Wiederhoeft [75] (#cite_note-CFDA-75) 2023 Return to Old Format In 2023, CFDA chose to return to their prior format, awarding 1 winner $300,000 and 2 runners up $100,000 each. [77] (#cite_note-77) However, all 10 finalists are given meaningful business mentorship and support. 2023: Angelo Fabricio Urrutia of 4SDesigns; Colin LoCascio; Rachel Scott of Diotima (Runner Up); [78] (#cite_note-78) Kim Shui; Kozaburo Akasaka of Kozaburo; Melitta Baumeister (Winner); [5] (#cite_note-:0-5) Sami Miro of Sami Miro Vintage; Fletcher Kasell and Tanner Richie of Tanner Fletcher; Everard Best and Téla D’Amore of WHO DECIDES WAR; and Henry Zankov of Zankov (Runner Up). [5] (#cite_note-:0-5) CFDA {FASHION INCUBATOR} program [ edit ] The CFDA {FASHION INCUBATOR} is a business development program designed to support the next generation of fashion designers in New York City. The program provides a creative professional environment (/wiki/Creative_economy_(economic_system)) with the mission of helping to grow and sustain the businesses of the 10 participating brands over the course of the two-year program. By offering low-cost design studio space, business mentoring, educational seminars, and networking opportunities, the program provides a way for participants to reach their full potential and become an integral part of the New York Fashion community. In 2010, the program partnered with New York University's Stern School of Business to create a Masters Workshop that pairs their top MBA Students with the designers to work on business development projects. Successful alumni of the Incubator program include Prabal Gurung (/wiki/Prabal_Gurung) and the 2013 CFDA/Vogue Fashion Fund winners, Dao-Yi Chow and Maxwell Osborne of Public School. The 4.0 class (2016–2018) of the {FASHION INCUBATOR} includes Alexandra Alvarez of Alix, Aurora James (/wiki/Aurora_James) of Brother Vellies, Charles Youssef, Daniel DuGoff of Ddugoff, Tim Joo and Dan Joo of Haerfest (/wiki/Haerfest_(fashion_brand)) , Jason Alkire and Julie Alkire of Haus Alkire (/wiki/Haus_Alkire) , Ji Oh, Katie deGuzman and Michael Miller of K/ller Collection, Thaddeus O’Neil, and Molly Yestadt of Yestadt Millinery. [79] (#cite_note-79) Fashion Manufacturing Initiative [ edit ] The Fashion Manufacturing Initiative (FMI) is an investment fund to help revitalize New York City's garment industry. The program offers matching financial grants to New York City's fashion manufacturing production facilities. In March 2018, the CFDA and NYCA announced that the following seven production facilities would receive a combined total of $480,000 in the fifth round of FMI grants: Atelier Amelia, Sunrise Studio, In Style USA, Mudo Fashion, New York Embroidery Studio, Season Wash, and Werkstatt. [80] (#cite_note-80) Fashion Targets Breast Cancer [ edit ] Fashion Targets Breast Cancer® (FTBC), a charitable initiative of the CFDA/CFDA Foundation, seeks to raise public awareness and funds for the breast cancer (/wiki/Breast_cancer) cause. The Fashion Targets Breast Cancer name and symbol were created by Ralph Lauren (/wiki/Ralph_Lauren) and subsequently entrusted to the CFDA Foundation. FTBC was first presented in the U.S. in the spring of 1994 during New York Fashion Week (/wiki/New_York_Fashion_Week) , and was formally launched in September 1994 at a special White House reception hosted by then-First Lady Hillary Clinton (/wiki/Hillary_Clinton) . During this initial campaign, 400,000 FTBC shirts were sold, raising $2 million to benefit the Nina Hyde Center for Breast Health at the Lombardi Cancer Center at Georgetown University Medical Center (/wiki/Georgetown_University_Medical_Center) . [81] (#cite_note-81) This center was chosen as beneficiary at Ralph Lauren's request, in memory of his friend Nina Hyde (/wiki/Nina_Hyde) , the former fashion editor of The Washington Post (/wiki/The_Washington_Post) , who died of breast cancer (/wiki/Breast_cancer) in 1990. Since 2011, the council has led an annual campaign to promote the initiative and partners with well known fashion icons. In 2017, Fabletics partnered with Fashion Targets Breast Cancer to produce an activewear collection. A portion of all sales for the collection would be donated to target breast cancer screening and treatment. [82] (#cite_note-82) [83] (#cite_note-83) To date, nearly $50 million has been granted to breast cancer charities worldwide from FTBC campaigns. [84] (#cite_note-84) CFDA Members have designed special FTBC branded or inspired merchandise, which was either sold or auctioned over the course of the campaign. CFDA Scholarship Program [ edit ] The CFDA scholarship program was created to award annual merit-based scholarship grants to students who study in a four-year, full-time college level design program. It has awarded $1,399,250 to students. [85] (#cite_note-85) The Geoffrey Beene Design Scholarship Award, the Liz Claiborne Design Scholarship Award, and the CFDA/Teen Vogue Scholarship Award in partnership with Target selected scholars from one of the CFDA's 20 participating design schools and donated $25,000 towards tuition and educational expenses. The awards are based solely on merit and judged by a panel of industry experts. Current members [ edit ] Notable CFDA Members include: [86] (#cite_note-86) Tom Ford (/wiki/Tom_Ford) Gladys Tamez (/wiki/Gladys_Tamez) Prabal Gurung (/wiki/Prabal_Gurung) Calvin Klein (/wiki/Calvin_Klein) Michael Kors (/wiki/Michael_Kors) Alexander Wang (designer) (/wiki/Alexander_Wang_(designer)) Vera Wang (/wiki/Vera_Wang) Diane von Fürstenberg (/wiki/Diane_von_F%C3%BCrstenberg) Tommy Hilfiger (/wiki/Tommy_Hilfiger) Gabriela Hearst (/wiki/Gabriela_Hearst) Ralph Lauren (/wiki/Ralph_Lauren) Elena Velez (/wiki/Elena_Velez) Maria Cornejo (/wiki/Maria_Cornejo) Publications [ edit ] The CFDA has published the following books, listed in order by publish date: American Fashion Home American Travel Scheips, Charlie (2007). American Fashion . Council of Fashion Designers of America (CFDA). Assouline Publishing (/wiki/Assouline_Publishing) . ISBN (/wiki/ISBN_(identifier)) 978-2759401611 . Hastreiter, Kim; Beene, Geoffrey (2008). Geoffrey Beene: An American Fashion Rebel . Assouline Publishing. ISBN (/wiki/ISBN_(identifier)) 9782759402663 . Pratts Price, Candy; Glasscock, Jessica; Tavee, Art (2008). American Fashion Accessories . Council of Fashion Designers of America (CFDA). Assouline Publishing. ISBN (/wiki/ISBN_(identifier)) 9782759402861 . Marsh, Lisa; Stewart, Martha (2009). American Fashion Cookbook . Council of Fashion Designers of America (CFDA). Assouline Publisher. ISBN (/wiki/ISBN_(identifier)) 9782759404056 . Bryan, Robert E. (2009). American Fashion Menswear . Assouline Publishing. ISBN (/wiki/ISBN_(identifier)) 9782759404094 . Suqi, Rima A. (2010). American Fashion Designers at Home . Council of Fashion Designers of America (CFDA). Assouline Publishing. ISBN (/wiki/ISBN_(identifier)) 9782759404711 . Mears, Patricia (2012). IMPACT: 50 Years of the CFDA . Council of Fashion Designers of America (CFDA). Harry N. Abrams. ISBN (/wiki/ISBN_(identifier)) 978-1419702310 . Von Furstenberg, Diane; Alba, Jessica (2014). The Pursuit of Style: Advice and Musings from America's Top Fashion Designers . Council of Fashion Designers of America (CFDA). Harry N. Abrams. ISBN (/wiki/ISBN_(identifier)) 978-1419706219 . Systrom, Kevin; Kolb, Steven (2015). Designers on Instagram: #fashion . Council of Fashion Designers of America (CFDA). Harry N. Abrams. ISBN (/wiki/ISBN_(identifier)) 978-1419715587 . Moore, Booth (2018). American Runway: 75 Years of Fashion and the Front Row . Council of Fashion Designers of America (CFDA). Harry N. Abrams. ISBN (/wiki/ISBN_(identifier)) 978-1419726484 . See also [ edit ] fashion portal (/wiki/Portal:Fashion) New York City portal (/wiki/Portal:New_York_City) New York (state) portal (/wiki/Portal:New_York_(state)) United States portal (/wiki/Portal:United_States) North America portal (/wiki/Portal:North_America) New York Fashion Week (/wiki/New_York_Fashion_Week) Arab Fashion Council (/wiki/Arab_Fashion_Council) British Fashion Council (/wiki/British_Fashion_Council) Fédération française de la couture (/wiki/F%C3%A9d%C3%A9ration_fran%C3%A7aise_de_la_couture) National Chamber of Italian Fashion (/wiki/National_Chamber_of_Italian_Fashion) List of fashion awards (/wiki/List_of_fashion_awards) References [ edit ] ^ (#cite_ref-1) "Current CFDA Membership Roster" (https://s3.amazonaws.com/cfda.f.mrhenry.be/2019/05/Membership-Roster-2019_as-of-May-17.pdf) (PDF) . CDFA . Council of Fashion Designers of America. May 2019 . Retrieved June 10, 2019 . ^ (#cite_ref-Founding_2-0) Nemy, Enid (October 8, 2003). "Eleanor Lambert, Empress of Fashion, Dies at 100" (https://www.nytimes.com/2003/10/08/nyregion/eleanor-lambert-empress-of-fashion-dies-at-100.html) . The New York Times (/wiki/The_New_York_Times) . Retrieved December 29, 2019 . ^ (#cite_ref-History_3-0) CFDA. "History" (http://cfda.com/about/history) . CFDA . Retrieved March 8, 2016 . ^ (#cite_ref-4) "Tom Ford to Head CFDA as New Chairman" (https://www.complex.com/style/2019/03/tom-ford-head-cfda-new-chairman) . Complex . Retrieved December 2, 2019 . ^ Jump up to: a b c d e f g Sterlacci, Francesca; Arbuckle, Joanne (2017). Historical Dictionary of the Fashion Industry . Rowman & Littlefield. pp. 125–126. ISBN (/wiki/ISBN_(identifier)) 9781442239098 . ^ Jump up to: a b c d e f g h i j k l m n "The Council of Fashion Designers of America - CFDA" (https://www.apparelsearch.com/names/c/cfda/council_of_fashion_designers_of_america_cfda.html) . Apparel Search . Retrieved December 2, 2019 . ^ (#cite_ref-7) Jacobs, Alexandra (May 27, 2015). "Luis Estévez, a CFDA Loss" (https://www.nytimes.com/2015/05/28/fashion/luis-estevez-a-cfda-loss.html) . The New York Times . ISSN (/wiki/ISSN_(identifier)) 0362-4331 (https://www.worldcat.org/issn/0362-4331) . Retrieved December 2, 2019 . ^ (#cite_ref-8) "Everyone Who Took Home a Trophy at the 2019 CFDA Awards" (https://www.instyle.com/awards-events/red-carpet/cfda-awards/2019-cfda-award-winners) . InStyle.com . Retrieved March 30, 2020 . CFDA Awards. It all started back in 1980, and now, almost 40 years later, the show is still going strong. ^ (#cite_ref-9) "The CFDA Fashion Awards: The 'Oscars of fashion' (http://www.cnn.com/2013/06/04/living/gallery/cfda-fashion-awards/) " (http://www.cnn.com/2013/06/04/living/gallery/cfda-fashion-awards/) . CNN . June 4, 2013. ^ (#cite_ref-10) thedailybeast.com CFDA awards, the Oscars of fashion (http://www.thedailybeast.com/galleries/2009/06/15/the-oscars-of-fashion.html) 2009/06/15 ^ (#cite_ref-11) Blanco F, José; Doering, Mary D.; Hunt-Hurst, Patricia; Vaughan Lee, Heather (2015). Clothing and Fashion: American Fashion from Head to Toe (4 volumes): American Fashion from Head to Toe . ABC-CLIO. p. 96. ISBN (/wiki/ISBN_(identifier)) 9781610693103 . ^ (#cite_ref-:22_12-0) Stangenes, Sharon (1985). "Requiem For Coty Awards: An Era Ends" (https://www.chicagotribune.com/news/ct-xpm-1985-06-19-8502090048-story.html) . Chicago Tribune . Retrieved March 28, 2020 . ^ (#cite_ref-13) "Fashion Council Reaches a Crossroads" (http://timesmachine.nytimes.com/timesmachine/1996/02/06/024767.html?pageNumber=20) . The New York Times (/wiki/The_New_York_Times) . February 6, 1996 . Retrieved March 31, 2020 . ^ Jump up to: a b "Designers' Council Opens Door a Bit" (http://timesmachine.nytimes.com/timesmachine/1997/12/09/511595.html?pageNumber=44) . The New York Times (/wiki/The_New_York_Times) . December 9, 1997. p. 14 . Retrieved March 31, 2020 . ^ (#cite_ref-CFDA_Annual_Report2_15-0) "2008 Annual Report" (http://cfda.com/wp-content/uploads/2012/06/2008-annual-report.pdf) (PDF) . Cfda.org . Retrieved July 17, 2015 . ^ (#cite_ref-16) "On The Up And Up | PPAI Publications" (https://web.archive.org/web/20150721110525/http://pubs.ppai.org/2014/12/on-the-up-and-up/) . Pubs.ppai.org. December 31, 2014. Archived from the original (http://pubs.ppai.org/2014/12/on-the-up-and-up/) on July 21, 2015 . Retrieved July 17, 2015 . ^ (#cite_ref-17) Lockwood, Lisa (June 7, 2022). "The 2022 CFDA Awards to Be Sponsored by Amazon Fashion" (https://wwd.com/fashion-news/designer-luxury/2022-cfda-awards-sponsor-amazon-fashion-1235196622/) . WWD . Retrieved June 23, 2022 . ^ (#cite_ref-18) "CFDA" (https://cfda.com/news/the-winners-of-the-2023-cfda-fashion-awards-presented-by-amazon-fashion) . cfda.com . Retrieved November 7, 2023 . ^ (#cite_ref-10_CFDA_Winners_You've_Probably_Never_Heard_Of_19-0) Mau, Dhani (May 30, 2013). "10 CFDA Winners You've Probably Never Heard Of" (https://fashionista.com/2013/05/10-cfda-winners-youve-probably-never-heard-of) . Fashionista . Retrieved March 30, 2020 . ^ (#cite_ref-20) "Amid the Rustle of Finery, Fashion Celebrates Its Own" (http://timesmachine.nytimes.com/timesmachine/1989/01/10/195489.html?pageNumber=33) . The New York Times (/wiki/The_New_York_Times) . January 10, 1989. p. 33 . Retrieved March 31, 2020 . ^ (#cite_ref-21) "CFDA FASHION AWARDS 2009" (https://cfda.com/cfda-fashion-awards/2009) . cfda.com . Retrieved November 7, 2023 . ^ (#cite_ref-22) "The 2009 CFDA Awards" (https://www.vogue.co.uk/article/the-cfda-winners-2009) . British Vogue . June 16, 2009 . Retrieved November 7, 2023 . ^ Jump up to: a b "CFDA FASHION AWARDS 2010" (https://cfda.com/cfda-fashion-awards/2010) . cfda.com . Retrieved November 7, 2023 . ^ Jump up to: a b "CFDA FASHION AWARDS 2017" (https://cfda.com/cfda-fashion-awards/2017) . cfda.com . Retrieved November 7, 2023 . ^ (#cite_ref-25) "THE JUNE 6 CFDA FASHION AWARDS MOVE TO THE HAMMERSTEIN" (https://cfda.com/news/the-june-6-cfda-fashion-awards-move-to-the-hammerstein) . cfda.com . January 26, 2016 . Retrieved November 7, 2023 . ^ Jump up to: a b "CFDA FASHION AWARDS 2018" (https://cfda.com/cfda-fashion-awards/2018) . cfda.com . Retrieved November 7, 2023 . ^ (#cite_ref-27) "CFDA FASHION AWARDS 2011" (https://cfda.com/cfda-fashion-awards/2011) . cfda.com . Retrieved November 7, 2023 . ^ (#cite_ref-28) Lawless, Caroline (June 16, 2011). "CDFA Awards 2011" (https://fault-magazine.com/2011/06/cdfa-awards-2011/) . FAULT Magazine . Retrieved November 7, 2023 . ^ (#cite_ref-29) "CFDA FASHION AWARDS 2012" (https://cfda.com/cfda-fashion-awards/2012) . cfda.com . Retrieved November 7, 2023 . ^ (#cite_ref-30) Kathleen Thibodeau, Fashion Blogger (June 6, 2012). "Watch the CFDA Fashion Awards" (https://www.masslive.com/fashion/2012/06/watch_the_cfda_fashion_awards.html) . masslive . Retrieved November 7, 2023 . ^ (#cite_ref-31) "CFDA FASHION AWARDS 2013" (https://cfda.com/cfda-fashion-awards/2013) . cfda.com . Retrieved November 7, 2023 . ^ (#cite_ref-32) "CFDA Awards 2013: The Winners!" (https://www.harpersbazaar.com/fashion/designers/a8987/cfda-awards-2013-winners-list-060413/) . Harper's BAZAAR . June 4, 2013 . Retrieved November 7, 2023 . ^ (#cite_ref-33) "INTRODUCING THE 2014 CFDA FASHION ICON OF THE YEAR…" (https://cfda.com/news/introducing-the-2014-cfda-fashion-icon-of-the-year) . cfda.com . March 24, 2014 . Retrieved November 7, 2023 . ^ (#cite_ref-2014_NOMINEES_34-0) "AND THE 2014 NOMINEES ARE…" (https://cfda.com/news/and-the-2014-nominees-are) . cfda.com . March 24, 2014 . Retrieved November 7, 2023 . ^ (#cite_ref-35) "Watch the 2014 CFDA Fashion Awards - YouTube" (https://www.youtube.com/playlist?list=PLa2TVR38PrS87Rj5ExewsR3BQQAd254At) . www.youtube.com . Retrieved November 7, 2023 . ^ (#cite_ref-36) "CFDA FASHION AWARDS 2014" (https://cfda.com/cfda-fashion-awards/2014) . cfda.com . Retrieved November 7, 2023 . ^ (#cite_ref-37) ELLE, Team (June 2, 2015). "CFDA Fashion Awards 2015: Red Carpet" (http://www.elleuk.com/fashion/celebrity-style/cfda-fashion-awards-2015) . ELLE . Retrieved March 30, 2020 . ^ (#cite_ref-38) "YEAR IN REVIEW: THE CFDA'S 2015 AWARD WINNERS" (https://cfda.com/news/year-in-review-the-cfdas-2015-award-winners) . cfda.com . December 21, 2015 . Retrieved November 7, 2023 . ^ (#cite_ref-39) "2015 CFDA Fashion Awards - YouTube" (https://www.youtube.com/playlist?list=PLa2TVR38PrS_1vz6DYgN7ErtWEsl0pnGx) . www.youtube.com . Retrieved November 7, 2023 . ^ (#cite_ref-40) "CFDA FASHION AWARDS 2015" (https://cfda.com/cfda-fashion-awards/2015) . cfda.com . Retrieved November 7, 2023 . ^ (#cite_ref-41) Yotka, Steff (June 6, 2016). "All the Winners From the 2016 CFDA Awards" (https://www.vogue.com/article/2016-cfda-fashion-awards-winners) . Vogue . Retrieved March 30, 2020 . ^ (#cite_ref-42) "CFDA FASHION AWARDS 2016" (https://cfda.com/cfda-fashion-awards/2016) . cfda.com . Retrieved November 7, 2023 . ^ (#cite_ref-43) "THE 2016 CFDA FASHION AWARDS NOMINEES & HONOREES" (https://cfda.com/news/the-2016-cfda-fashion-awards-nominees-honorees) . cfda.com . March 17, 2016 . Retrieved November 7, 2023 . ^ (#cite_ref-44) "2016 CFDA Fashion Awards | Monday, June 6 - YouTube" (https://www.youtube.com/playlist?list=PLa2TVR38PrS_pNi5RKaOREtybdD5EZDkj) . www.youtube.com . Retrieved November 7, 2023 . ^ (#cite_ref-45) Yotka, Steff (June 5, 2017). "All the Winners and Honorees From the 2017 CFDA Fashion Awards" (https://www.vogue.com/article/cfda-awards-2017-winner-revealed) . Vogue . Retrieved March 30, 2020 . ^ (#cite_ref-46) KARIMZADEH, Marc (June 6, 2017). "THE 2017 CFDA FASHION AWARDS WINNERS!" (https://cfda.com/news/the-2017-cfda-fashion-awards-winners) . cfda.com . Retrieved November 7, 2023 . ^ (#cite_ref-47) Fisher, Lauren Alexis (June 5, 2018). "Supreme, Raf Simons, and Naomi Campbell Win CFDA Awards" (https://www.harpersbazaar.com/fashion/designers/a19456283/cfda-awards-nominees-winners-2018/) . Harper's BAZAAR . Retrieved March 30, 2020 . ^ (#cite_ref-48) "2018 CFDA Fashion Awards - YouTube" (https://www.youtube.com/playlist?list=PLa2TVR38PrS_KPw8QBcLKOeJo3SaEAXm5) . www.youtube.com . Retrieved November 7, 2023 . ^ (#cite_ref-49) KARIMZADEH, Marc (June 4, 2018). "THE 2018 CFDA FASHION AWARDS WINNERS!" (https://cfda.com/news/the-2018-cfda-fashion-awards-winners) . cfda.com . Retrieved November 7, 2023 . ^ (#cite_ref-50) Farra, Emily (June 4, 2019). "All the Winners From the 2019 CFDA Awards" (https://www.vogue.com/article/cfda-awards-winners-2019) . Vogue . Retrieved March 30, 2020 . ^ (#cite_ref-51) Ilchi, Layla (June 3, 2019). "CFDA Fashion Awards 2019 Winners: See the Full List" (https://wwd.com/fashion-news/fashion-scoops/2019-cfda-fashion-awards-winners-full-list-1203137977/) . WWD . Retrieved March 30, 2020 . ^ (#cite_ref-52) "2019 CFDA FASHION AWARDS" (https://cfda.com/cfda-fashion-awards/2019) . cfda.com . Retrieved November 7, 2023 . ^ (#cite_ref-53) "2019 CFDA Fashion Awards - YouTube" (https://www.youtube.com/playlist?list=PLa2TVR38PrS8FHALOtvxFBG-ytU0MWTEd) . www.youtube.com . Retrieved November 7, 2023 . ^ Jump up to: a b "2020 CFDA FASHION AWARDS" (https://cfda.com/cfda-fashion-awards/2020) . cfda.com . Retrieved November 7, 2023 . ^ Jump up to: a b KARIMZADEH, Marc (November 10, 2021). "BREAKING NEWS! THE 2021 CFDA FASHION AWARDS WINNERS" (https://cfda.com/news/breaking-news-the-2021-cfda-fashion-awards-winners) . cfda.com . Retrieved November 7, 2023 . ^ (#cite_ref-56) "All the Winners of the 2020 CFDA Fashion Awards" (https://www.harpersbazaar.com/fashion/designers/a34011997/cfda-fashion-awards-winners-2020/) . Harper's BAZAAR . September 14, 2020 . Retrieved November 7, 2023 . ^ (#cite_ref-57) "2020 CFDA Fashion Awards - YouTube" (https://www.youtube.com/playlist?list=PLa2TVR38PrS-gQUWEZVv_yxVtIijFo8_f) . www.youtube.com . Retrieved November 7, 2023 . ^ (#cite_ref-58) KARIMZADEH, Marc (September 14, 2020). "THE SCOOP ON THE 2020 CFDA FASHION AWARDS WINNERS!" (https://cfda.com/news/the-scoop-on-the-2020-cfda-fashion-awards-winners) . cfda.com . Retrieved November 7, 2023 . ^ (#cite_ref-59) "2021 CFDA Fashion Awards - YouTube" (https://www.youtube.com/playlist?list=PLa2TVR38PrS9l4PdoOR0bVsfw1CZOQlGG) . www.youtube.com . Retrieved November 7, 2023 . ^ (#cite_ref-60) "THE 2022 CFDA FASHION AWARDS WINNERS" (https://cfda.com/news/the-2022-cfda-fashion-awards-winners) . cfda.com . November 8, 2022 . Retrieved November 7, 2023 . ^ (#cite_ref-61) "2022 CFDA FASHION AWARDS" (https://cfda.com/cfda-fashion-awards/2022) . cfda.com . Retrieved November 7, 2023 . ^ (#cite_ref-62) "Khaite's Catherine Holstein, Luar's Raul Lopez, and More Win Top Awards at CFDA Awards—See All the Winners Here" (https://www.vogue.com/article/2022-cfda-award-winners) . Vogue . November 8, 2022 . Retrieved November 7, 2023 . ^ (#cite_ref-63) Wade, Prudence (November 7, 2023). "Anne Hathaway, Serena Williams and Vanessa Hudgens lead stars at CFDA Awards" (https://www.standard.co.uk/culture/film/serena-williams-anne-hathaway-vanessa-hudgens-american-oscars-b1118682.html) . Evening Standard . Retrieved November 7, 2023 . ^ (#cite_ref-64) Lockwood, Lisa (November 7, 2023). "Khaite's Catherine Holstein Wins American Womenswear Designer of the Year at 2023 CFDA Fashion Awards" (https://wwd.com/fashion-news/designer-luxury/catherine-holstein-khaite-womenswear-designer-2023-cfda-awards-1235916002/) . WWD . Retrieved November 7, 2023 . ^ (#cite_ref-65) "THE WINNERS OF THE 2023 CFDA FASHION AWARDS PRESENTED BY AMAZON FASHION" (https://cfda.com/news/the-winners-of-the-2023-cfda-fashion-awards-presented-by-amazon-fashion) . cfda.com . November 6, 2023 . Retrieved November 7, 2023 . ^ (#cite_ref-CFDA_Runners_Up_of_2013_66-0) "The Winner & Runners-Up of the 2013 CFDA/Vogue Fashion Fund" (http://cfda.com/the-latest/the-winner-runners-up-of-the-2013-cfdavogue-fashion-fund) . CFDA. November 12, 2013 . Retrieved July 17, 2015 . ^ (#cite_ref-67) Koblin, John (November 5, 2014). "CFDA/Vogue Fashion Fund Picks Paul Andrew as Winner" (https://www.nytimes.com/2014/11/06/fashion/cfda-vogue-fashion-fund-picks-paul-andrews-as-winner.html) . The New York Times (/wiki/The_New_York_Times) . Retrieved March 30, 2020 . ^ (#cite_ref-68) "At the CFDA/Vogue Fashion Fund, Winning Isn't Everything" (https://www.businessoffashion.com/articles/news-analysis/at-the-cfdavogue-fashion-fund-winning-isnt-everything) . The Business of Fashion . November 2, 2015 . Retrieved March 30, 2020 . ^ (#cite_ref-69) "Announcing the 2017 CFDA/Vogue Fashion Fund Finalists" (https://www.vogue.com/article/cfda-vogue-fashion-fund-finalists-2017) . July 17, 2017. ^ (#cite_ref-70) Yotka, Steff (2017). "Telfar Wins the CFDA Vogue Fashion Fund 2017" (https://www.vogue.com/article/cfda-vogue-fashion-fund-2017-winner-telfar) . Vogue . Retrieved March 30, 2020 . ^ (#cite_ref-71) Yotka, Steff (2018). "Introducing the 10 Finalists of the 2018 CFDA/Vogue Fashion Fund" (https://www.vogue.com/article/cfda-vogue-fashion-fund-2018-finalists) . Vogue . Retrieved March 30, 2020 . ^ (#cite_ref-72) "Kerby Jean-Raymond of Pyer Moss Wins the 2018 CFDA/'Vogue' Fashion Fund" (https://fashionista.com/2018/11/pyer-moss-cfda-vogue-fashion-fund-winner) . Fashionista . 2018 . Retrieved March 30, 2020 . ^ (#cite_ref-73) "CFDA" (https://cfda.com/news/cfda-and-vogue-reveal-the-2019-fashion-fund-finalists) . cfda.com . Retrieved February 11, 2023 . ^ (#cite_ref-74) "Meet The 10 Winners Of The 2021 CFDA/'Vogue' Fashion Fund" (https://www.nylon.com/fashion/2021-cfda-vogue-fashion-fund-winners-laquan-smith-batsheva-hanifa) . Nylon . April 27, 2021 . Retrieved February 11, 2023 . ^ Jump up to: a b "CFDA" (https://cfda.com/news/meet-the-2022-fashion-fund-finalists) . cfda.com . Retrieved February 11, 2023 . ^ (#cite_ref-76) "CFDA" (https://cfda.com/news/breaking-news-the-2021-cfda-fashion-awards-winners) . cfda.com . Retrieved February 11, 2023 . ^ (#cite_ref-77) "Meet the 2023 CFDA/ Vogue Fashion Fund Finalists" (https://cfda.com/news/meet-the-2023-cfda-vogue-fashion-fund-finalists) . cfda.com . May 17, 2023 . Retrieved November 8, 2023 . ^ (#cite_ref-78) "Melitta Baumeister Wins the 2023 CFDS/Vogue Fashion Fund" (https://cfda.com/news/melitta-baumeister-wins-the-2023-cfda-vogue-fashion-fund) . cfda.com . October 19, 2023 . Retrieved November 8, 2023 . ^ (#cite_ref-79) Yotka, Steff (May 25, 2016). "This Is the Next Wave of Young American Designers" (http://www.vogue.com/13440154/cfda-fashion-incubator-2016-2018/) . Vogue . Retrieved December 28, 2016 . ^ (#cite_ref-80) Scarano, Genevieve (March 2, 2018). "CFDA and NYCEDC Present Fifth Round of FMI Grant Fund Recipients" (https://sourcingjournalonline.com/cfda-nycedc-fmi-grant-fund-recipients/) . Sourcing Journal . Retrieved March 3, 2018 . ^ (#cite_ref-81) Corporation, Brown-Forman. "Chambord Announce Partnership with the Iconic Designer Betsey Johnson and Fashion Targets Breast Cancer During October" (https://www.3blmedia.com/News/Chambord-Announce-Partnership-Iconic-Designer-Betsey-Johnson-and-Fashion-Targets-Breast-Cancer) . www.3blmedia.com . Retrieved December 13, 2019 . ^ (#cite_ref-82) Eli Flesch. "Kate Hudson Launches Breast Cancer Awareness Collection with Fabletics" (http://stylecaster.com/kate-hudson-fabletics-breast-cancer-awareness-collection/%7C) . Stylecaster . Retrieved December 10, 2017 . ^ (#cite_ref-83) Marcy Medina (September 27, 2017). "Kate Hudson unveils CFDA and Fabletics' Fashion Targets Breast Cancer collection" (http://beta.latimes.com/fashion/la-ig-wwd-kate-hudson-breast-cancer-fabletics-collection-20170927-story.html%7C) . Los Angeles Times . Retrieved December 10, 2017 . [ dead link ] ^ (#cite_ref-84) "JOE FRESH® AND RETHINK BREAST CANCER CELEBRATE THE 10TH ANNIVERSARY OF FASHION TARGETS BREAST CANCER IN CANADA" (https://media.loblaw.ca/English/media-centre/press-releases/press-release-details/2011/JOE-FRESH-AND-RETHINK-BREAST-CANCER-CELEBRATE-THE-10TH-ANNIVERSARY-OF-FASHION-TARGETS-BREAST-CANCER-IN-CANADA1124757/default.aspx) . media.loblaw.ca . Retrieved December 13, 2019 . ^ (#cite_ref-85) "CFDA Scholarship Program" (http://cfda.com/programs/scholarships/cfda-scholarship-program) . Cfda.com . Council of Fashion Designers of America . Retrieved June 25, 2015 . ^ (#cite_ref-86) "CFDA" (https://cfda.com/members) . cfda.com . Retrieved May 15, 2022 . 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Italian American heiress and socialite Allegra Versace Born Allegra Versace Beck [1] (#cite_note-allegra_versace_beck-1) ( 1986-06-30 ) 30 June 1986 (age 38) Milan (/wiki/Milan) , Italy Education Sir James Henderson School (/wiki/The_British_School_of_Milan) Brown University (/wiki/Brown_University) UCLA (/wiki/University_of_California,_Los_Angeles) Known for Heiress Businesswoman Socialite Parent Donatella Versace (/wiki/Donatella_Versace) (mother) Relatives Santo Versace (/wiki/Santo_Versace) (uncle) Gianni Versace (/wiki/Gianni_Versace) (uncle) Website versace.com (https://www.versace.com/) Allegra Versace Beck ( Italian pronunciation: [alˈleːɡra (/wiki/Help:IPA/Italian) verˈsaːtʃe (/wiki/Help:IPA/Italian) ˈbɛk] (/wiki/Help:IPA/Italian) ; born 30 June 1986), commonly known as Allegra Versace , is an Italian-American heiress (/wiki/Beneficiary) and socialite (/wiki/Socialite) . [1] (#cite_note-allegra_versace_beck-1) Since 2011, Allegra has been a director of Gianni Versace S.p.A. (/wiki/Versace) [2] (#cite_note-:0-2) and has worked in New York City (/wiki/New_York_City) as a theatrical dresser (/wiki/Dresser_(theatre)) . [3] (#cite_note-3) [4] (#cite_note-4) Early life and education [ edit ] Casa Casuarina (/wiki/Casa_Casuarina) , Ocean Drive (/wiki/Ocean_Drive_(South_Beach)) , Architectural District (/wiki/Miami_Beach_Architectural_District) , Miami Beach, Florida (/wiki/Miami_Beach,_Florida) . Allegra Versace is the daughter of Italian fashion designer Donatella Versace (/wiki/Donatella_Versace) and American ex- fashion model (/wiki/Fashion_model) Paul Beck, [5] (#cite_note-harper-5) and the niece of fashion designer Gianni Versace (/wiki/Gianni_Versace) . She was raised outside Milan (/wiki/Milan) , Italy, with her younger brother Daniel. [6] (#cite_note-theage-6) Sir Elton John (/wiki/Sir_Elton_John) gave her a piano [1] (#cite_note-allegra_versace_beck-1) [7] (#cite_note-piano-7) that she admits she never learned to play. [8] (#cite_note-vanityfairspanish-8) As a child, she took ballet classes for nine years and is to this day a huge admirer of ballet. [8] (#cite_note-vanityfairspanish-8) She credits her uncle Gianni as having instilled in her this lifelong passion for ballet. [8] (#cite_note-vanityfairspanish-8) For one of her birthdays, he introduced her to Maurice Béjart (/wiki/Maurice_B%C3%A9jart) . [8] (#cite_note-vanityfairspanish-8) Versace attended The British School of Milan (/wiki/The_British_School_of_Milan) , then known as "The Sir James Henderson School", [9] (#cite_note-9) where she was tightly guarded. [10] (#cite_note-crownbook-10) Following the completion of secondary education (/wiki/Secondary_education) , she went abroad, first to Brown University (/wiki/Brown_University) in Rhode Island (/wiki/Rhode_Island,_United_States) , [5] (#cite_note-harper-5) then in 2006, she enrolled at UCLA (/wiki/University_of_California,_Los_Angeles) , where she studied French (/wiki/French_language) , art history (/wiki/Art_history) , and theatre (/wiki/Theatre) . [11] (#cite_note-11) [2] (#cite_note-:0-2) Inheritance of Versace [ edit ] Allegra Versace was eleven years old when her uncle Gianni Versace (/wiki/Gianni_Versace) was fatally shot outside his Miami mansion in July 1997. [6] (#cite_note-theage-6) Her mother immediately sought counseling for her. [1] (#cite_note-allegra_versace_beck-1) On her 18th birthday, she received 50% ownership of Gianni Versace S.p.A. (/wiki/Versace) [12] (#cite_note-12) Allegra's uncle Santo Versace (/wiki/Santo_Versace) already owned 30% of the fashion empire, and her mother already owned 20%, but due to a long-standing disagreement between the two, the remaining 50% of the Versace empire was bequeathed (/wiki/Will_(law)) by Gianni to Allegra. [1] (#cite_note-allegra_versace_beck-1) Allegra instantly became worth hundreds of millions of dollars. Despite legally being able to claim full control of her inheritance at the age of 18, she opted to focus entirely on her studies and did not begin real participation in the business of Versace until she was 24. [8] (#cite_note-vanityfairspanish-8) Personal life [ edit ] She has struggled with anorexia nervosa (/wiki/Anorexia_nervosa) . [13] (#cite_note-13) [14] (#cite_note-14) References [ edit ] ^ Jump up to: a b c d e Cunningham, Jennifer (19 June 2004). "Is there a Versace in the house?; Allegra Beck; Aged 11, she watched TV reports flash up news that her beloved uncle, Gianni Versace, had been shot. Now she stands to inherit a 50% share of the Versace empire. But who is this girl with the power at her fingertips?" (https://web.archive.org/web/20160225131942/https://www.highbeam.com/doc/1P2-23570407.html) . The Herald (/wiki/The_Herald_(Plymouth)) . Plymouth, England. Archived from the original (http://www.highbeam.com/doc/1P2-23570407.html) on 25 February 2016 . Retrieved 2 November 2015 . ^ Jump up to: a b Carpenter, Julie (15 June 2011). "Return of the lost little rich girl" (http://www.express.co.uk/expressyourself/252738/Return-of-the-lost-little-rich-girl) . Express.co.uk . Retrieved 27 September 2017 . ^ (#cite_ref-3) Emami, Gazelle; Moss, Hilary (8 June 2011). "Allegra Versace Talks Anorexia, Making A Name For Herself in Fashion" (http://www.huffingtonpost.com/2011/06/06/allegra-versace-anorexia_n_871819.html) . The Huffington Post (/wiki/The_Huffington_Post) . Retrieved 12 May 2012 . ^ (#cite_ref-4) Roberts, Andrew (9 June 2011). "Allegra Versace, 50% Versace Shareholder, Joins Company's Board" (https://web.archive.org/web/20160130091504/http://www.bloomberg.com/news/articles/2011-06-09/allegra-versace-50-versace-shareholder-joins-company-s-board) . Bloomberg (/wiki/Bloomberg_News) . Archived from the original (https://www.bloomberg.com/news/articles/2011-06-09/allegra-versace-50-versace-shareholder-joins-company-s-board) on 30 January 2016 . Retrieved 3 November 2015 . ^ Jump up to: a b Ginsberg, Merle (March 2007). "Exclusive: Donatella & Allegra" (https://web.archive.org/web/20110717152210/http://www.harpersbazaar.com/magazine/feature-articles/donatella-allegra-versace-0307) . Harper's Bazaar (/wiki/Harper%27s_Bazaar) . p. 452. Archived from the original (http://www.harpersbazaar.com/magazine/feature-articles/donatella-allegra-versace-0307) on 17 July 2011 . Retrieved 24 December 2009 . ^ Jump up to: a b Guest, Katy (20 July 2004). "Poor little super rich kids" (http://www.theage.com.au/articles/2004/07/19/1090089096077.html) . The Age (/wiki/The_Age) . Retrieved 13 August 2011 . ^ (#cite_ref-piano_7-0) Arie, Sophie (2004). "Gianni's golden girl" (https://www.theguardian.com/world/2004/jun/27/italy.clothes) . The Guardian (/wiki/The_Guardian) . Retrieved 3 November 2015 . ^ Jump up to: a b c d e "Allegra Beck, la 'principessa' de Gianni Versace que nunca quiso la c…" (https://www.revistavanityfair.es/sociedad/celebrities/articulos/allegra-beck-sobrina-asesinato-gianni-versace-hija-donatella-principessa-anorexia-anonima-fox/28397) . 19 March 2019. Archived (https://archive.today/20190319060424/https://www.revistavanityfair.es/sociedad/celebrities/articulos/allegra-beck-sobrina-asesinato-gianni-versace-hija-donatella-principessa-anorexia-anonima-fox/28397) from the original on 19 March 2019 . Retrieved 19 March 2019 . ^ (#cite_ref-9) Fenton, Ben (2 July 2001). "Wealthy 'princess' marks coming of age" (https://www.telegraph.co.uk/news/worldnews/europe/italy/1465961/Wealthy-princess-marks-coming-of-age.html) . The Daily Telegraph (/wiki/The_Daily_Telegraph) . Retrieved 3 November 2015 . ^ (#cite_ref-crownbook_10-0) Ball, Deborah (2011). House of Versace: The Untold Story of Genius, Murder, and Survival (Illustrated ed.). Crown Publishing Group. ISBN (/wiki/ISBN_(identifier)) 9780307406521 . Retrieved 19 March 2019 . ^ (#cite_ref-11) Hellard, Peta (1 April 2007). "Saddest girl in the world" (http://www.heraldsun.com.au/news/sunday-heraldsun/saddest-girl-in-the-world/story-e6frf92x-1111113259990) . Herald Sun (/wiki/Herald_Sun) . Retrieved 3 November 2015 . late last year she shifted to Los Angeles to study acting, French and art history at a Californian university, UCLA. ^ (#cite_ref-12) "Versace niece's $700m birthday gift" (http://www.smh.com.au/articles/2004/07/01/1088488097542.html?from=storyrhs) . The Sydney Morning Herald (/wiki/The_Sydney_Morning_Herald) . 2 July 2004 . Retrieved 25 June 2014 . ^ (#cite_ref-13) "Allegra On Gianni" (https://www.vogue.co.uk/article/allegra-beck-on-uncle-gianni-versace-and-anorexia) . British Vogue . 7 June 2011 . Retrieved 15 July 2021 . ^ (#cite_ref-14) Pomeroy, Robin (28 March 2007). "Versace heiress "battling anorexia", says Donatella" (https://www.reuters.com/article/us-versace-anorexia/versace-heiress-battling-anorexia-says-donatella-idUSL2862552820070328) . Reuters . Retrieved 15 July 2021 . External links [ edit ] Official website (https://www.versace.com/us/en-us/home) Versace at Wikipedia's sister projects Media (https://commons.wikimedia.org/wiki/Category:Versace) from Commons News (https://en.wikinews.org/wiki/Special:Search/Versace) from Wikinews Texts (https://en.wikisource.org/wiki/Special:Search/Versace) from Wikisource Portals (/wiki/Wikipedia:Contents/Portals) : Biography (/wiki/Portal:Biography) Fashion (/wiki/Portal:Fashion) Italy (/wiki/Portal:Italy) Los Angeles (/wiki/Portal:Los_Angeles) New York City (/wiki/Portal:New_York_City) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐g84k7 Cached time: 20240720164655 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.525 seconds Real time usage: 0.718 seconds Preprocessor visited node count: 2572/1000000 Post‐expand include size: 39962/2097152 bytes Template argument size: 2386/2097152 bytes Highest expansion depth: 13/100 Expensive parser function count: 7/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 62347/5000000 bytes Lua time usage: 0.363/10.000 seconds Lua memory usage: 21399698/52428800 bytes Number of Wikibase entities loaded: 2/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 669.483 1 -total 26.29% 175.991 1 Template:Reflist 21.70% 145.274 1 Template:Infobox_person 19.05% 127.545 11 Template:Cite_news 18.69% 125.104 1 Template:IPA-it 18.46% 123.571 1 Template:IPA 10.78% 72.168 1 Template:Short_description 8.36% 55.951 1 Template:Sister_project_links 7.10% 47.531 4 Template:Br_separated_entries 6.25% 41.825 1 Template:Portal_bar Saved in parser cache with key enwiki:pcache:idhash:10034189-0!canonical and timestamp 20240720164655 and revision id 1219342205. 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The nineteenth century marks the period beginning January 1, 1801 and ends December 31, 1900. It was a period of dramatic change and rapid socio-cultural advancement, where society and culture are constantly changing with advancement of time. The technology, art, politics, and culture of the 19th century were strongly reflected in the styles and silhouettes of the era's clothing. For women, fashion was an extravagant and extroverted display of the female silhouette with corset (/wiki/Corset) pinched waistlines, bustling full-skirts that flowed in and out of trend and decoratively embellished (/wiki/Embellishment) gowns. For men, three piece suits were tailored for usefulness in business as well as sporting activity. The fashion in this article includes styles from the 19th century through a Western context – namely Europe and North America. 19th Century Dress Silhouette Man's tailcoat 1825–1830 Historical overview and fashions [ edit ] Early 1800s (1800–1829) [ edit ] Technological innovations [ edit ] At the turn of the 18th century, the Western world – namely Europe and the United States – were revelling in the prosperity of the rapid progress that came with the rise of the Industrial Revolution (/wiki/Industrial_Revolution) . [1] (#cite_note-1) The period from approximately 1760 to between 1820 and 1840 saw the transition to new manufacturing processes from traditional hand production methods to new machine production methods. [2] (#cite_note-:10-2) The textile industry (/wiki/Textile_industry) was the first to use modern production techniques, namely mechanised cotton spinning (/wiki/Cotton-spinning_machinery) with automatic machine looms. [2] (#cite_note-:10-2) With the arrival of automated methods, through industrialisation came too the creation of factories which maximised productivity and enhanced efficient production. [3] (#cite_note-3) The unprecedented rapid and sustained economic growth demonstrated by the textile industry – through employment and value output – saw huge changes in the affordability of clothes and materials (/wiki/Material) as prices fell. [4] (#cite_note-:0-4) [5] (#cite_note-5) Art, culture, and politics [ edit ] The early 19th century saw a shift from 18th century Enlightenment (/wiki/Age_of_Enlightenment) ideologies of order, reason and rationalism to new values of imagination and emotion with the emergence of Romanticism (/wiki/Romanticism) . [6] (#cite_note-:1-6) The period of Romanticism from around 1800–1840 emphasised an opposition to stability, celebrating an appreciation of the chaotic which admires creativity, individuality, subjectivity, spontaneity, the sensory and the transcendental (/wiki/Transcendence_(philosophy)) . [6] (#cite_note-:1-6) In England, this period is also known as the Georgian (/wiki/Georgian_era) [or Regency (/wiki/Regency_era) ] Era which saw great change with rapid urbanisation as cities grew, trade expanded, and a capitalist (/wiki/Capitalism) -driven consumer culture emerged. [7] (#cite_note-7) The fashion of the time reflects this transitional period as it gradually moves away from the Empire silhouette (/wiki/Empire_silhouette) and Neoclassical (/wiki/Neoclassicism) influences of Enlightenment which take inspiration from ' classical antiquity (/wiki/Classical_antiquity) '. [8] (#cite_note-8) The shift towards a new Romantic style inspired by creativity and imagination, is defined by more theatrical and dramatic designs which are inspired by a blend of the mysterious medieval (/wiki/Middle_Ages) past with lavish and dramatic Gothic (/wiki/Gothic_architecture) decoration. [9] (#cite_note-9) The extravagance of these displays reaches its peak nearing the end of Romanticism as 'exuberance becomes sentimentality'. [10] (#cite_note-10) For both men and women, silhouettes were increasingly exaggerated with the establishment of curvaceous shapes pointing to an obvious rejection of previous Neoclassical geometric (/wiki/Geometric_Shapes) style. [11] (#cite_note-:2-11) Layers of colour and pattern added to the dramatic and expressive display which became characteristic of Romanticism and again contrasted the 18th century monochromatic (/wiki/Monochromatic_color) palette. [11] (#cite_note-:2-11) Mid-1800s (1830–1869) [ edit ] Technological innovations [ edit ] 1830 silhouette By mid-nineteenth century people were settling into the normal routine of life as shaped by the changes and innovations that came with the First Industrial Revolution. Further discoveries in mathematics, science and engineering saw advancements in medicine as well as huge progress for communication and transportation. [12] (#cite_note-:3-12) The introduction of telegraphy (/wiki/Telegraphy) and the opening of major railways connected people in major industrial cities (/wiki/Industrial_city) to one another. [12] (#cite_note-:3-12) Emerging globalisation (/wiki/Globalization) and world-wide economic integration saw new trade routes and brought wealth to the capitalist powers of the Western world. [13] (#cite_note-13) As standards of living slowly improved and income per capita (/wiki/Median_income) was on the rise, the middle-class were beginning to spend more on indulgent rather than solely necessary goods. [14] (#cite_note-14) [15] (#cite_note-15) 1840 silhouette The modernisation of communication and transportation technologies saw a shift in the traditional consumption patterns of retail consumers. The invention of mail order business (/wiki/Mail_order) by Pryce Pryce-Jones (/wiki/Pryce_Pryce-Jones) in 1861 revolutionised shopping patterns and enabled people to order clothing and accessories [via telegram] from other parts of the world [to then be delivered via train] [16] (#cite_note-16) a much similar concept to contemporary online shopping (/wiki/Online_shopping) habits. Art, culture and politics [ edit ] The mid-19th century again shifts from Romanticism to Realism (/wiki/Realism_(arts)) , sometimes called Naturalism (/wiki/Naturalism_(literature)) . This ideological art movement 'sought to convey a truthful and objective vision of contemporary life'. [17] (#cite_note-17) 1837 marked the beginning of the Victorian era (/wiki/Victorian_era) , a time that saw tremendous progress, change and power for the British Empire (/wiki/British_Empire) and one that characterises an entire genre of fashion history. [18] (#cite_note-:11-18) Women's fashion at the beginning of Queen Victoria (/wiki/Queen_Victoria) 's reign became more modest – corsets (/wiki/Corset) were paired with swelled skirts which aligned with early Victorian ideals of the modest domestic lady stereotype. [19] (#cite_note-19) Layered petticoats (/wiki/Petticoat) with crinoline (/wiki/Crinoline) and steel-hoop structures,. [20] (#cite_note-20) [21] (#cite_note-21) Menswear of the early Victorian Era was understated with the rise of the respectable male bourgeois (/wiki/Bourgeoisie) gentleman. [18] (#cite_note-:11-18) However, soon after both men's and women's fashion became more colourful and relaxed with more exuberant styles and new techniques including passementerie (/wiki/Passementerie) trims thanks to increasing availability of the sewing machine (/wiki/Sewing_machine) . [22] (#cite_note-22) By the latter half of mid-nineteenth century it becomes clear that fashion technologies revolutionised the designs of particularly womenswear fashion with cage crinoline enabling a larger but more lightweight hoop skirt (/wiki/Hoop_skirt) . [23] (#cite_note-:4-23) In align with the trend of offering greater comfort, menswear 'relaxed into wide, easy cuts'. [23] (#cite_note-:4-23) Late 1800s (1870–1899) [ edit ] 1880 silhouette Technological innovations [ edit ] The late-19th century constituted further industrialization with the Second Industrial Revolution (/wiki/Second_Industrial_Revolution) , also known as the Technological revolution (/wiki/Technological_revolution) , which was responsible for illustrious innovations. [24] (#cite_note-24) The modern social and economic infrastructure continued to revolutionise consumption patterns as the prices of consumer goods decreased dramatically with the increase in productivity. [25] (#cite_note-25) The growth of urban centres and 'new technologies, such as the introduction of electricity into clothing manufacturing, produced a boom in the ready-to-wear (/wiki/Ready-to-wear) market'. [26] (#cite_note-:5-26) Progress in communications and the media meant that fashionable styles and silhouettes were widespread globally and accessible to the everyday person. With the rise of publications, magazines aimed especially at women depicted the styles in vogue at the time and began to introduce paper patterns. [27] (#cite_note-:6-27) The popularity of these patterns paired with machine innovation and ease-of-use saw a rise in the popularity of at home dressmaking. [27] (#cite_note-:6-27) 1890 silhouette Art, culture and politics [ edit ] Late 19th century movements in art and culture include Impressionism (/wiki/Impressionism) and Post-Impressionism (/wiki/Post-Impressionism) which are characterised by their rebellion against classical subject matter and that which embraces depictions of modern life including new technology and ideas [28] (#cite_note-28) – 'concentrating on themes of deeper symbolism to express emotions, rather than simply optical (/wiki/Optics) impressions'. [29] (#cite_note-29) The women's rights (/wiki/Women%27s_rights) and suffragist (/wiki/Suffragist) movement towards the turn of the 20th century also saw a shift in gender roles. As the 19th century neared its end, the world began to transition away from stiff Victorian fashions with the rise of the Edwardian era (/wiki/Edwardian_era) to new freedoms of a more simplistic dress structure and silhouette. [26] (#cite_note-:5-26) Women's fashion of the late 19th century saw an introduction of styles with a long, slim, body-hugging silhouette that revealed the natural figure, including the popular ' princess line (/wiki/Princess_line) ' and later ' artistic' style dresses (/wiki/Artistic_Dress_movement) . [27] (#cite_note-:6-27) These styles featured seamless waists, streamlined skirts and a slow move away from corsetry, much more practical than the conventional attire. [27] (#cite_note-:6-27) These 'slender and angular' [30] (#cite_note-:7-30) styles, had excessive decoration which compensated for the rebellion against heavy, ultra-restrictive trends. [30] (#cite_note-:7-30) Dress embellishments included bows, emphasised ruching (/wiki/Gather_(knitting)) , thick rich fabrics and trims. [31] (#cite_note-:8-31) Menswear began to have a significant influence on women's clothing [30] (#cite_note-:7-30) with masculine styles and tailoring becoming increasingly popular, women sometimes wore a shirt collar (/wiki/Collar_(clothing)) and tie, particularly when exercising. [31] (#cite_note-:8-31) For men, lounge suits (/wiki/Suit) were becoming increasingly popular and were often quite slim, maintaining an overall narrow silhouette. [31] (#cite_note-:8-31) A three-piece suit (/wiki/Three-piece_suit) was a more casual attire regularly worn by businessmen, with jackets open or partially undone with a waistcoat (/wiki/Waistcoat) underneath. [31] (#cite_note-:8-31) Heavily starched collars on shirts were worn high and stiff-standing, with turned down wingtips (/wiki/Wingtip_collar) . [26] (#cite_note-:5-26) Women's fashion [ edit ] Dress style by the decade [ edit ] 1800s–1810 [ edit ] Empire Silhouette ca. 1810 (American) Evening Dress 1805-1810 (French) 1810s–1820 [ edit ] Ball Gown ca. 1820 (American) Evening Dress ca. 1820 (American) 1820s–1830 [ edit ] Dinner Dress 1824-1826 (British) Dress Late 1820s (British) Morning Dress mid. 1820s (British) 1830s–1840 [ edit ] Dress 1832-1835 (American) Morning Dress 1837-1839 (American) 1840s–1850 [ edit ] Evening Dress 1840-1842 (American) Dress ca. 1840 (British) 1850s–1860 [ edit ] Dress ca. 1850 (British) Afternoon Dress 1850-1955 (American) Evening Dress 1850-1955 (American) 1860s–1870 [ edit ] Dress 1860-1864 (British) Dress 1860-1861 (French) Promenade Dress 1862-1864 (American) 1870s–1880 [ edit ] Romantic Gown ca. 1872 (French) Dinner Dress 1870 (American Walking Dress 1870-1875 (American) Dress ca. 1870 (British) 1880s–1890 [ edit ] Dress 1885-1888 (American) Dress ca. 1880 (American) 1890s–1900 [ edit ] Tea Gown 1890 (French) Tea Gown 1890 (French) Hairstyles and Headwear [ edit ] Up-do's [ edit ] Accessories [ edit ] Handmade shawls, fans and umbrellas, hats, purses and handbags were popular. [32] (#cite_note-32) Makeup and Jewelry [ edit ] Shoes [ edit ] Men's Fashion [ edit ] Suit style [ edit ] 19th Century Men's Suit (American) 19th Century Men's Suit Jacket (American) 19th Century Men's Suit Jacket Detail (American) Children's Fashion [ edit ] For most of the 19th century babies wore 'long, white dresses with short sleeves' [33] (#cite_note-:9-33) whilst toddlers and young children wore 'short dresses with frilled drawers peeking out underneath'. [33] (#cite_note-:9-33) As children grew into young adults the dress styles mimicked that of the elder generation, with the only difference being more simplistic styles and shorter lengths. [33] (#cite_note-:9-33) Workwear [ edit ] Introduced in the beginning of the century, proper work clothes and work uniforms were a sign of a new era. It started off with small businesses and factories creating a specific uniform for their company. Not too long later, government bodies such as the police, firefighters, and miners adopted the idea. [34] (#cite_note-34) See also [ edit ] 19th century fashion history (Western Countries) [ edit ] 1795–1820 in fashion (/wiki/1795%E2%80%931820_in_Western_fashion) 1820s in fashion (/wiki/1820s_in_Western_fashion) 1830s in fashion (/wiki/1830s_in_Western_fashion) 1840s in fashion (/wiki/1840s_in_Western_fashion) 1850s in fashion (/wiki/1850s_in_Western_fashion) 1860s in fashion (/wiki/1860s_in_Western_fashion) 1870s in fashion (/wiki/1870s_in_Western_fashion) 1880s in fashion (/wiki/1880s_in_Western_fashion) 1890s in fashion (/wiki/1890s_in_Western_fashion) References [ edit ] ^ (#cite_ref-1) Berlanstein, L.R. (1992). The Industrial Revolution and work in nineteenth-century Europe. London and New York: Routledge. ^ a b Landes, D.S. (1969). The Unbound Prometheus: technological change and industrial development in Western Europe from 1750 to present. Cambridge, UK: Cambridge University Press. ^ (#cite_ref-3) Walker, W. (1993). National Innovation Systems: Britain. In Nelson, R. (Eds.), National innovation systems: a comparative analysis. New York: Oxford University Press. ^ (#cite_ref-:0_4-0) Waugh, Norah (1990). Corsets and Crinolines . Routledge. ISBN (/wiki/ISBN_(identifier)) 978-0878305261 . ^ (#cite_ref-5) Hopkins, E. (2000). Industrialisation and Society: A Social History, 1830-1951. London: Routledge. ^ a b Galitz, K.C. (2004). Romanticism. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art. Retrieved from https://www.metmuseum.org/toah/hd/roma/hd_roma.htm (https://www.metmuseum.org/toah/hd/roma/hd_roma.htm) Retrieved September 7, 2020. ^ (#cite_ref-7) British Library (2020). Georgian Britain. Retrieved from https://www.bl.uk/georgian-britain (https://www.bl.uk/georgian-britain) Retrieved September 7, 2020. ^ (#cite_ref-8) Franklin, H. (2020). 1810–1819, 19th century decade overview. Fashion History Timeline. Retrieved September 7, 2020 from https://fashionhistory.fitnyc.edu/1810-1819/ (https://fashionhistory.fitnyc.edu/1810-1819/) ^ (#cite_ref-9) Franklin, H. (2020). 1820–1829, 19th century decade overview. Fashion History Timeline. Retrieved September 7, 2020 from https://fashionhistory.fitnyc.edu/1820-1829/ (https://fashionhistory.fitnyc.edu/1820-1829/) ^ (#cite_ref-10) Franklin, H. (2020). 1830–1839, 19th century decade overview. Fashion History Timeline. Retrieved September 7, 2020 from https://fashionhistory.fitnyc.edu/1830-1839/ (https://fashionhistory.fitnyc.edu/1830-1839/) ^ a b Bassett, L. (2016). Gothic to Goth: Romantic Era Fashion and Its Legacy . Hartford: Connecticut Wadsworth Atheneum Museum of Art. ^ a b Oxford Reference. (2012). Timeline: 19th century 1800–1900. HistoryWorld. Retrieved September 10, 2020 from https://www.oxfordreference.com/view/10.1093/ (https://www.oxfordreference.com/view/10.1093/) ^ (#cite_ref-13) Lucas, R. (2003). The Industrial Revolution Past and Future. Annual Report of Federal Reserve Bank of Minneapolis. Retrieved September 10, 2020 from http://minneapolisfed.org/pubs/region/04-05/essay.cfm (http://minneapolisfed.org/pubs/region/04-05/essay.cfm) ^ (#cite_ref-14) Feinstein, C. (1998). Pessimism Perpetuated: Real Wages and the Standard of Living in Britain during and after the Industrial Revolution. In Journal of Economic History, 58 (3), 625–658. doi:10.1017/S0022050700021100 ^ (#cite_ref-15) Szreter, S. & Mooney, G. (2003). Urbanization, Mortality, and the Standard of Living Debate: New Estimates of the Expectation of Life at Birth in Nineteenth-century British Cities. In The Economic History Review (1998), 51 (1), 84–112. doi: 10.1111/1468-0289.00084 ^ (#cite_ref-16) BBC. (2019). Pryce-Jones: Pioneer of the Mail Order Industry. Retrieved September 10, 2020 from http://www.bbc.co.uk/legacies/work/wales/w_mid/article_3.shtml (https://www.bbc.co.uk/legacies/work/wales/w_mid/article_3.shtml) ^ (#cite_ref-17) Finocchio, R. (2004). Nineteenth-Century French Realism. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art. Retrieved September 10, 2020 from https://www.metmuseum.org/toah/hd/rlsm/hd_rlsm.htm (https://www.metmuseum.org/toah/hd/rlsm/hd_rlsm.htm) ^ a b English Heritage. (2020). An Introduction to Victorian England (1837–1901). Retrieved September 10, 2020 from https://www.english-heritage.org.uk/learn/story-of-england/victorian/ (https://www.english-heritage.org.uk/learn/story-of-england/victorian/) ^ (#cite_ref-19) Franklin, H. (2020). 1840–1849, 19th century decade overview. Fashion History Timeline. Retrieved September 10, 2020 from https://fashionhistory.fitnyc.edu/1840-1849/ (https://fashionhistory.fitnyc.edu/1840-1849/) ^ (#cite_ref-20) Victoria & Albert Museum. (2016). Victorian Dress at the V&A. Retrieved September 10, 2020 from http://www.vam.ac.uk/content/articles/v/victorian-dress-at-v-and-a/ (http://www.vam.ac.uk/content/articles/v/victorian-dress-at-v-and-a/) ^ (#cite_ref-21) Cunnington, C.W. (1990). English Women's Clothing in the Nineteenth Century: A Comprehensive Guide with 1,117 Illustrations . Mineola, NY: Dover Publications. ^ (#cite_ref-22) Franklin, H. (2020). 1850–1859, 19th century decade overview. Fashion History Timeline. Retrieved September 10, 2020 from https://fashionhistory.fitnyc.edu/1850-1859/ (https://fashionhistory.fitnyc.edu/1850-1859/) ^ a b Franklin, H. (2020). 1860–1869, 19th century decade overview. Fashion History Timeline. Retrieved September 10, 2020 from https://fashionhistory.fitnyc.edu/1860-1869/ (https://fashionhistory.fitnyc.edu/1860-1869/) ^ (#cite_ref-24) Muntone, S. (2012). Second Industrial Revolution. Education.com. Retrieved October 8, 2020 from http://www.education.com/study-help/article/us-history-glided-age-technological-revolution/ (http://www.education.com/study-help/article/us-history-glided-age-technological-revolution/) ^ (#cite_ref-25) Wells, D. A. (1890) Recent Economic Changes and Their Effect on Production and Distribution of Wealth and Well-Being of Society . New York: D. Appleton & Co. ^ a b c Franklin, H. (2020). 1890–1899, 19th century decade overview. Fashion History Timeline. Retrieved October 15, 2020 from https://fashionhistory.fitnyc.edu/1890-1899/ (https://fashionhistory.fitnyc.edu/1890-1899/) ^ a b c d Victoria & Albert Museum. (2016). Introduction to 19th-Century Fashion. Retrieved October 11, 2020 from http://www.vam.ac.uk/content/articles/i/introduction-to-19th-century-fashion/ (http://www.vam.ac.uk/content/articles/i/introduction-to-19th-century-fashion/) ^ (#cite_ref-28) Samu, M. (2004). Impressionism: Art and Modernity. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art. Retrieved October 15, 2020 from https://www.metmuseum.org/toah/hd/imml/hd_imml.htm (https://www.metmuseum.org/toah/hd/imml/hd_imml.htm) ^ (#cite_ref-29) Voorhies, J. (2004). Post-Impressionism. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art. Retrieved October 15, 2020 from https://www.metmuseum.org/toah/hd/poim/hd_poim.htm (https://www.metmuseum.org/toah/hd/poim/hd_poim.htm) ^ a b c Franklin, H. (2020). 1880–1889, 19th century decade overview. Fashion History Timeline. Retrieved October 15, 2020 from https://fashionhistory.fitnyc.edu/1880-1889/ (https://fashionhistory.fitnyc.edu/1880-1889/) ^ a b c d Victoria & Albert Museum. (2016). History of Fashion 1840–1900. Retrieved 31 October 2020 from http://www.vam.ac.uk/content/articles/h/history-of-fashion-1840-1900/ (http://www.vam.ac.uk/content/articles/h/history-of-fashion-1840-1900/) ^ (#cite_ref-32) "Модні жіночі хитрощі містянок у минулих століттях Оттава" (https://ottawanka.com/uk/eternal/modni-zhinochi-hytroshhi-mistyanok-u-mynulyh-stolittyah) . 24 June 2022. ^ a b c Buck, A. (1996). Clothes and the Child: A Handbook of Children's Dress in England, 1500–1900 . New York: Holmes & Meier. ^ (#cite_ref-34) "A brief history of workwear and uniforms" (https://mustang-workwear.com/a-brief-history-of-workwear-and-uniforms/) . 2022-04-12 . 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Fashion event in New York New York Fashion Week Model Liu Wen (/wiki/Liu_Wen_(model)) walks the runway modeling fashions by designer Diane von Fürstenberg (/wiki/Diane_von_F%C3%BCrstenberg) at New York Fashion Week 2013. Genre Clothing and fashion exhibitions Frequency Semi-annually Location(s) Manhattan (/wiki/Manhattan) , New York City (/wiki/New_York_City) (primarily at Skylight Clarkson Square and Industria) Country United States Inaugurated 1943 Founder Eleanor Lambert (/wiki/Eleanor_Lambert) New York Fashion Week ( NYFW ), held in February and September of each year, is a semi-annual series of events in Manhattan (/wiki/Manhattan) typically spanning seven to nine days when international fashion collections (/wiki/Fashion_design) are shown to buyers, the press, and the general public. It is one of four major fashion weeks (/wiki/Fashion_week) in the world, collectively known as the "Big Four", along with those in Paris (/wiki/Paris_Fashion_Week) , London (/wiki/London_Fashion_Week) , and Milan (/wiki/Milan_Fashion_Week) . [1] (#cite_note-1) [2] (#cite_note-2) The Council of Fashion Designers of America (/wiki/Council_of_Fashion_Designers_of_America) (CFDA) created the modern notion of a centralized "New York Fashion Week" in 1993, although cities like London were already using their city's name in conjunction with the words fashion week in the 1980s. NYFW is based on a much older series of events called "Press Week", founded in 1943. [3] (#cite_note-3) On a global scale, most business and sales-oriented shows and some couture shows take place in New York City (/wiki/New_York_City) . A centralized calendar of citywide events (including those affiliated with WME/IMG) is kept by the CFDA, [4] (#cite_note-4) and was acquired from calendar founder Ruth Finley (/wiki/Ruth_Finley) . [5] (#cite_note-5) The annual economic impact of New York Fashion Week upon New York City was estimated at US$887 million in 2016. [6] (#cite_note-6) Origins [ edit ] Opening Day for a fashion show in New York, seen in Harper's Bazaar (/wiki/Harper%27s_Bazaar) in 1868. The first New York Fashion Week was created in 1943 by Eleanor Lambert (/wiki/Eleanor_Lambert) , press director of the American fashion industry (/wiki/Fashion_industry) 's first promotional organization, the New York Dress Institute. [7] (#cite_note-7) The event, the world's first organized fashion week (/wiki/Fashion_week) , was called "Press Week", and was created to attract attention away from French fashion during World War II (/wiki/World_War_II) , when fashion industry insiders were unable to travel to Paris to see French fashion shows. [8] (#cite_note-slate-8) It was also meant to showcase American designers for fashion journalists (/wiki/Fashion_journalism) , who had neglected U.S. fashion innovations. Press Week in New York was a success, and fashion (/wiki/Fashion) magazines like Vogue (/wiki/Vogue_(magazine)) , which were normally filled with French designs, increasingly featured American fashion. [8] (#cite_note-slate-8) By the mid-1950s, the event was known as "Press Week of New York". Spring 1951 (held February 1951) was the 16th Annual Press Week of New York. [9] (#cite_note-9) Consolidation as "7th on Sixth" [ edit ] In 1993, the Council of Fashion Designers of America, CFDA (/wiki/Council_of_Fashion_Designers_of_America) , led by president Stan Herman (/wiki/Stan_Herman) and executive director Fern Mallis (/wiki/Fern_Mallis) , [10] (#cite_note-10) [11] (#cite_note-11) consolidated the citywide events known as "New York Fashion Week" by staging them in a cluster of white tents in Bryant Park (/wiki/Bryant_Park) . [12] (#cite_note-12) [13] (#cite_note-13) [14] (#cite_note-14) The event was branded with the trademark "7th on Sixth". [15] (#cite_note-15) 21st century [ edit ] Internationally, most business and sales-oriented shows and some couture shows have taken place in New York City since 2010. The emphasis, however, has perennially been financial (/wiki/Financial_center) . New York's LGBT fashion design community (/wiki/List_of_LGBT_people_from_New_York_City#Fashion) contributes very significantly to promulgating fashion trends, and drag celebrities (/wiki/List_of_LGBT_people_from_New_York_City#Drag) have developed a profound influence upon New York Fashion Week. [16] (#cite_note-DragQueensNewYorkFashionWeek-16) In 2001, " 7th (/wiki/Seventh_Avenue_(Manhattan)) on Sixth (/wiki/Sixth_Avenue) " was sold to IMG (/wiki/IMG_(company)) . [17] (#cite_note-17) The exhibition was canceled in September 2001 (/wiki/Closings_and_cancellations_following_the_September_11_attacks) in light of the September 11 attacks (/wiki/September_11_attacks) . The 9/11 terrorist attacks occurred on what should have been the fourth day of NYFW. The exhibition they were having to feature a maternity designer was canceled as well as all remaining events . In 2007, [18] (#cite_note-18) Mercedes-Benz (/wiki/Mercedes-Benz) became title sponsor of the IMG-produced events, adding New York to its roster of international "Mercedes-Benz fashion weeks", [19] (#cite_note-19) and dubbing it "MB Fashion Week New York". [20] (#cite_note-20) In 2010, IMG/Mercedes-Benz Fashion Week New York left the Bryant Park tents, relocating to the Lincoln Center for the Performing Arts (/wiki/Lincoln_Center_for_the_Performing_Arts) . [21] (#cite_note-hollywoodreporter.com-21) [22] (#cite_note-22) In September 2011, New York designers began live-streaming runway shows, in order to reach a greater audience. The following London, who began in February 2010. [23] (#cite_note-23) [24] (#cite_note-24) Streams were originally offered on YouTube, and later on other sites. In 2013, IMG and its New York Fashion Week events were sold to William Morris Endeavor (/wiki/William_Morris_Endeavor) (WME) and Silver Lake Partners for $2.3 billion. [25] (#cite_note-25) [26] (#cite_note-26) In 2014, the CFDA acquired FashionCalendar.com from Ruth Finley (/wiki/Ruth_Finley) . The company had managed it (originally in the paper, then in digital format) for more than 60 years. [27] (#cite_note-27) [28] (#cite_note-28) In January 2015, Mercedes-Benz announced its departure as title sponsor from WME/IMG's events. [29] (#cite_note-29) Producer Kanye West (/wiki/Kanye_West) announced he would gladly take over sponsorship of the event. [30] (#cite_note-30) In March 2015, WME/IMG announced that it had acquired MADE Fashion Week, which takes place during WME/IMG's events. [31] (#cite_note-31) [32] (#cite_note-32) In 2015, IMG's events were moved from Lincoln Center (/wiki/Lincoln_Center) to Spring Studios. [21] (#cite_note-hollywoodreporter.com-21) [33] (#cite_note-33) [34] (#cite_note-34) Current location [ edit ] The primary location for New York Fashion Week is Spring Studios at 50 Varick Street (/wiki/Varick_Street_(Manhattan)) in Lower Manhattan (/wiki/Lower_Manhattan) . Locations have included a waterfront carnival, converted railway terminals and a former post office. [35] (#cite_note-35) Other notable events [ edit ] 2014 [ edit ] Haute couture (/wiki/Haute_couture) fashion models (/wiki/Fashion_model) walk the runway (/wiki/Catwalk) during New York Fashion Week. In February 2014, Dr. Danielle Sheypuk (/wiki/Danielle_Sheypuk) became the first wheelchair-using model to appear in a show for New York Fashion Week; she modeled for designer Carrie Hammer. [36] (#cite_note-36) [37] (#cite_note-Crespo-37) In September 2014, Karen Crespo became the first quadruple-amputee to walk at New York Fashion Week, also for Carrie Hammer. [37] (#cite_note-Crespo-37) [38] (#cite_note-38) On December 12, 2014, a New York state court approved a settlement in a lawsuit by community activists over whether allowing the Mercedes-Benz Fashion Week tents in Damrosch Park (/wiki/Damrosch_Park) was a violation of the public trust doctrine (/wiki/Public_trust_doctrine) . In accordance with the settlement, the City of New York, the New York City Department of Parks and Recreation, and Lincoln Center for the Performing Arts (/wiki/Lincoln_Center_for_the_Performing_Arts) agreed not to renew their contract with IMG. As a result, the February 2015 Mercedes-Benz Fashion Week was the last one staged in Damrosch Park. [39] (#cite_note-39) In 2014, New York State passed legislation designating models under the age of 18 as child performers, restricting the hours they can perform and requiring additional documentation. [40] (#cite_note-40) 2015 [ edit ] Actress Jamie Brewer (/wiki/Jamie_Brewer) became the first woman with Down syndrome (/wiki/Down_syndrome) to walk the red carpet at New York Fashion Week, which she did for designer Carrie Hammer. [41] (#cite_note-41) In December 2015, the CFDA announced that it had hired the Boston Consulting Group (/wiki/Boston_Consulting_Group) to study revising the format of New York Fashion Week to adapt to changes brought about by social media. One option being explored is to bifurcate the event, with private showroom appointments of next season's designs for buyers and public fashion shows displaying in-season merchandise for consumers. [42] (#cite_note-42) [43] (#cite_note-auto-43) [44] (#cite_note-44) The first New York Fashion Week dedicated menswear shows, called "New York Fashion Week: Men's", were produced. [45] (#cite_note-45) 2016 [ edit ] The season ended with a number of designers either experimenting with, or planning to adopt, a "see now, buy now model", with items available from the runway immediately after (or even during) the show, rather than six months later. [46] (#cite_note-46) The charge was led by brands such as Burberry (/wiki/Burberry) , [47] (#cite_note-47) although experiments in the format can be traced back to earlier shows by designers such as Diane von Furstenberg (/wiki/Diane_von_Furstenberg) . Attendance [ edit ] Admission to shows at New York Fashion Week is typically in the form of accreditation (/wiki/Accreditation) , with specific events by invitation only. Most of the time attendees are other designers, celebrities, and social media influencers (/wiki/Social_media_influencers) . [48] (#cite_note-48) No "official" New York Fashion Week [ edit ] In spite of CFDA's claim to run the "official" New York Fashion Week calendar, [49] (#cite_note-49) and as further purported by publications such as Women's Wear Daily (/wiki/Women%27s_Wear_Daily) , [50] (#cite_note-50) it has been pointed out in publications such as The Fashion Law that CFDA has "little, in any, legal rights in the NYFW name". [51] (#cite_note-51) Therefore, trademark rights remain unclear, at best. Trademark litigation [ edit ] In 2013 Fashion Week Inc., founded by business executive Trisha Paravas, registered the trademarks (/wiki/Trademark) "New York Fashion Week", "NYFW" and "NYFW The Runway Shows" to use in conjunction with the production of its consumer-based fashion shows after realizing the current slate of New York Fashion Shows were invitation-only and designed for industry professionals and media. Trisha Paravas launched bi-yearly shows in December 2013 and initially called them "New York Fashion Shows". After her first few shows drew increasing interest, she decided to rebrand it. At the time, Paravas claimed there was no trademark filed for "New York Fashion Week", and filed for "New York Fashion Week" trademark, along with the abbreviation "NYFW". [52] (#cite_note-52) The Council of Fashion Designers of America (/wiki/Council_of_Fashion_Designers_of_America) ( CFDA (/wiki/Council_of_Fashion_Designers_of_America) ) lacked registrations for the "New York Fashion Week" trademarks, and tried to cancel Fashion Week Inc's registrations. Nonetheless, the CFDA was unsuccessful in its effort to have Fashion Week, Inc.'s "New York Fashion Week" trademark cancelled. [53] (#cite_note-53) [54] (#cite_note-54) On June 28, 2016, Fashion Week Inc. and its CEO Trisha Paravas filed a lawsuit for $10 million against CFDA and WME-IMG (/wiki/WME-IMG) for trademark counterfeiting, trademark infringement (/wiki/Trademark_infringement) , false designation of origin (/wiki/False_designation_of_origin) , dilution, and unfair competition (/wiki/Unfair_competition) . [55] (#cite_note-55) [56] (#cite_note-56) [57] (#cite_note-57) [58] (#cite_note-58) On August 12, 2016, the court denied Paravas and Fashion Week Inc.'s motion for a preliminary injunction (/wiki/Preliminary_injunction) . [59] (#cite_note-hballp-59) Judge Koeltl held that although Fashion Week, Inc. does have rights in the New York Fashion Week trademark, those rights are "limited" to "online entertainment ticket agency sales". On the other hand, the court held that the CFDA and WME IMG enjoy rights in the mark for the "broad ambit of organizing and producing fashion shows". [60] (#cite_note-60) linked topics [ edit ] Fashion portal (/wiki/Portal:Fashion) New York City portal (/wiki/Portal:New_York_City) New York (state) portal (/wiki/Portal:New_York_(state)) United States portal (/wiki/Portal:United_States) North America portal (/wiki/Portal:North_America) Fashion week (/wiki/Fashion_week) List of fashion events (/wiki/List_of_fashion_events) References [ edit ] ^ (#cite_ref-1) Bradford, Julie (2014). Fashion Journalism . Routledge. p. 129. ISBN (/wiki/ISBN_(identifier)) 9781136475368 . Archived (https://web.archive.org/web/20160101095821/https://books.google.com/books?id=H2xeBAAAQBAJ&pg=PA129) from the original on January 1, 2016 . Retrieved November 20, 2015 . ^ (#cite_ref-2) Dillon, Susan (2011). The Fundamentals of Fashion Management . A&C Black. p. 115. ISBN (/wiki/ISBN_(identifier)) 9782940411580 . Archived (https://web.archive.org/web/20160101095821/https://books.google.com/books?id=3XFMAQAAQBAJ&pg=PA115) from the original on January 1, 2016 . Retrieved November 20, 2015 . ^ (#cite_ref-3) "History of New York Fashion Week – New York Fashion Week" (https://web.archive.org/web/20170505222105/http://newyorkfashionweeklive.com/history-of-new-york-fashion-week) . Archived from the original (http://newyorkfashionweeklive.com/history-of-new-york-fashion-week) on May 5, 2017 . Retrieved April 11, 2016 . ^ (#cite_ref-4) CFDA. "CFDA + Fashion Calendar" (http://cfda.com/the-latest/cfda-fashion-calendar) . Archived (https://web.archive.org/web/20150703080633/http://cfda.com/the-latest/cfda-fashion-calendar) from the original on July 3, 2015 . Retrieved July 2, 2015 . ^ (#cite_ref-5) "The CFDA Purchases The Fashion Calendar With The Promise To Streamline Fashion Week" (http://fashionweekdaily.com/the-cfda-acquires-ruth-finleys-fashion-calendar) . fashionweekdaily.com . July 25, 2014. 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Archived (https://web.archive.org/web/20150214113655/https://www.vanityfair.com/news/2015/02/wme-img-merger-ari-emanuel) from the original on February 14, 2015 . Retrieved February 18, 2020 . ^ (#cite_ref-26) "IMG WORLDWIDE TO BE ACQUIRED BY SILVER LAKE PARTNERS AND WILLIAM MORRIS ENDEAVOR" (https://web.archive.org/web/20150704065440/http://img.com/news/news/2013/decembmer/img-worldwide-to-be-acquired-by-silver-lake-partne.aspx) . IMG . Archived from the original (http://img.com/news/news/2013/decembmer/img-worldwide-to-be-acquired-by-silver-lake-partne.aspx) on July 4, 2015. ^ (#cite_ref-27) "How the CFDA's Acquisition of the Fashion Calendar Will Change Fashion Week" (http://fashionista.com/2014/07/cfda-acquires-fashion-calendar) . July 25, 2014. Archived (https://web.archive.org/web/20201212031628/https://fashionista.com/2014/07/cfda-acquires-fashion-calendar) from the original on December 12, 2020 . 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"New York Fashion Week Logo Lawsuit: CFDA, WME-IMG Sued" (http://www.fashiontimes.com/articles/26917/20160706/new-york-fashion-week-logo-lawsuit-cfda-wme-img-sued.htm) . Fashion Times . Archived (https://web.archive.org/web/20161110022214/http://www.fashiontimes.com/articles/26917/20160706/new-york-fashion-week-logo-lawsuit-cfda-wme-img-sued.htm) from the original on November 10, 2016 . Retrieved August 3, 2016 . ^ (#cite_ref-58) "UPDATED: CFDA, WME-IMG Sued for Using New York Fashion Week Trademark" (http://www.thefashionlaw.com/home/the-cfda-wme-img-sued-over-new-york-fashion-week-trademark) . The Fashion Law . Archived (https://web.archive.org/web/20191014023004/http://www.thefashionlaw.com/home/the-cfda-wme-img-sued-over-new-york-fashion-week-trademark) from the original on October 14, 2019 . Retrieved August 3, 2016 . ^ (#cite_ref-hballp_59-0) "FASHION WEEK, INC., Plaintiff, v. COUNCIL OF FASHION DESIGNERS OF AMERICA, INC., CFDA FOUNDATION INC., and WME IMG LLC" (http://hballp.com/wp-content/uploads/PI-decision.pdf) (PDF) . August 12, 2016. Archived (https://web.archive.org/web/20161111184544/http://hballp.com/wp-content/uploads/PI-decision.pdf) (PDF) from the original on November 11, 2016. ^ (#cite_ref-60) "Fashion Week Inc. Presents a Zang Toi Collection at Fashion Week New York" (https://www.thefreelibrary.com/Fashion+Week+Inc.+Presents+a+Zang+Toi+Collection+at+Fashion+Week+New...-a0381908079) . The Free Library . September 9, 2014. Archived (https://web.archive.org/web/20191014022955/https://www.thefreelibrary.com/Fashion%2BWeek%2BInc.%2BPresents%2Ba%2BZang%2BToi%2BCollection%2Bat%2BFashion%2BWeek%2BNew...-a0381908079) from the original on October 14, 2019 . Retrieved October 14, 2019 . External links [ edit ] Wikimedia Commons has media related to New York Fashion Week (https://commons.wikimedia.org/wiki/Category:New_York_Fashion_Week) . New York Fashion Week (http://topics.nytimes.com/top/reference/timestopics/subjects/n/new_york_fashion_week/index.html) collected news and commentary at The New York Times (/wiki/The_New_York_Times) v t e Fashion weeks (/wiki/Fashion_week) By location "Big four" New York London (/wiki/London_Fashion_Week) Milan (/wiki/Milan_Fashion_Week) Paris (/wiki/Paris_Fashion_Week) Others Amsterdam (/wiki/Amsterdam_Fashion_Week) Australia (/wiki/Australian_Fashion_Week) Boston (/wiki/Boston_Fashion_Week) Brisbane (/wiki/Mercedes-Benz_Fashion_Festival_Brisbane) Berlin (/wiki/Berlin_Fashion_Week) Colombo (/wiki/Colombo_Fashion_Week) Copenhagen (/wiki/Copenhagen_Fashion_Week) Detroit (/wiki/Detroit_Fashion_Week) India (/wiki/India_Fashion_Week) Jakarta (/wiki/Jakarta_Fashion_Week) Kuala Lumpur (/wiki/Kuala_Lumpur_Fashion_Week) Lagos (/wiki/Lagos_Fashion_Week) Lahore and Karachi (/wiki/PFDC_Sunsilk_Fashion_Week) Los Angeles (/wiki/Los_Angeles_Fashion_Week) Madrid (/wiki/Madrid_Fashion_Week) Malta (/w/index.php?title=Malta_Fashion_Week&action=edit&redlink=1) Mexico City (/wiki/Fashion_Week_Mexico_City) Miami (/wiki/Mercedes-Benz_Fashion_Week_Miami) New Zealand (/wiki/New_Zealand_Fashion_Week) Ottawa (/wiki/Ottawa_Fashion_Week) Port Harcourt, Nigeria (/wiki/Port_Harcourt_International_Fashion_Week) Rio de Janeiro (/wiki/Rio_Fashion_Week) São Paulo (/wiki/S%C3%A3o_Paulo_Fashion_Week) Sibiu, Romania (/wiki/Feeric_Fashion_Week) Singapore (/wiki/Singapore_Fashion_Week) Shanghai (/wiki/Shanghai_Fashion_Week) Shenzhen (/w/index.php?title=Shenzhen_Fashion_Week&action=edit&redlink=1) Tbilisi (/wiki/Tbilisi_Fashion_Week) Toronto (/wiki/Toronto_Fashion_Week) Vancouver (/wiki/Vancouver_Fashion_Week) Yangon, Myanmar (/wiki/Myanmar_International_Fashion_Week) See also List of fashion events (/wiki/List_of_fashion_events) Fashion portal (/wiki/Portal:Fashion) Authority control databases (/wiki/Help:Authority_control) : National Germany (https://d-nb.info/gnd/7859198-3) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐fwztx Cached time: 20240720170858 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.767 seconds Real time usage: 0.925 seconds Preprocessor visited node count: 3654/1000000 Post‐expand include size: 134862/2097152 bytes Template argument size: 1842/2097152 bytes Highest expansion depth: 13/100 Expensive parser function count: 9/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 244432/5000000 bytes Lua time usage: 0.506/10.000 seconds Lua memory usage: 6079077/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 826.160 1 -total 52.67% 435.128 1 Template:Reflist 26.92% 222.364 49 Template:Cite_web 12.55% 103.646 3 Template:Cite_book 10.92% 90.226 1 Template:Big_4_Fashion_Weeks 10.74% 88.698 1 Template:Short_description 10.53% 86.966 1 Template:Navbox 5.98% 49.368 1 Template:Infobox_recurring_event 5.91% 48.827 1 Template:Commons_category 5.61% 46.344 1 Template:Sister_project Saved in parser cache with key enwiki:pcache:idhash:10095918-0!canonical and timestamp 20240720170858 and revision id 1224656955. 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Garment designed to prevent suicide An anti-suicide smock , Ferguson , turtle suit , pickle suit , Bam Bam suit , [1] (#cite_note-1) or suicide gown , is a tear-resistant single-piece outer garment that is generally used to prevent a hospitalized (/wiki/Hospital) , incarcerated (/wiki/Incarcerated) , or otherwise detained individual from forming a noose (/wiki/Noose) with the garment to commit suicide (/wiki/Suicide) . The smock is typically a simple, sturdily quilted (/wiki/Quilted) , collarless, sleeveless gown (/wiki/Gown) with adjustable openings at the shoulders and down the front that are closed with nylon (/wiki/Nylon) hook-and-loop (/wiki/Hook-and-loop) or similar fasteners. The thickness of the garment makes it impossible to roll or fold the garment so it can't be used as a noose. It is not a restraint and provides modesty and warmth while not impeding the mobility of the wearer. The suit covers all private areas as the wearer is to be naked under the suit for their own protection. These items are formally known as Safety Smocks and were designed and developed by Lonna Speer (/w/index.php?title=Lonna_Speer&action=edit&redlink=1) in 1989 while she was a nurse working in the Santa Cruz, California, county jail. [2] (#cite_note-2) Safety Smocks are now standard issue throughout jails and prisons in the United States. [3] (#cite_note-3) The same material is used for the anti-suicide blanket (/wiki/Anti-suicide_blanket) . Prior to the use of the Safety Smock, many jails and prisons stripped inmates naked and held them in a stripped down-padded cell with no furniture or protrusions of any kind. Some facilities opted to use paper gowns to provide modesty. The American Correctional Association (ACA) has established the use of appropriate Safety Smocks and Safety Blankets as one of the Standards used to judge jails and prisons for accreditation. Demand for Safety Smocks to meet this ACA Standard led to multiple clothing makers creating similar garments of varying strength and of various materials. In addition to the Safety Smock, Lonna Speer developed the Safety Blanket and the Safe Sleeping Bag, all made from the quilted heavy nylon material, as well as The Dozer, a Suicide Cell mattress, the Safety Pillow, and Safety Slippers. See also [ edit ] Fashion portal (/wiki/Portal:Fashion) Anti-trespass panels (/wiki/Anti-trespass_panels) Suicide watch (/wiki/Suicide_watch) Guantanamo suicide attempts (/wiki/Guantanamo_suicide_attempts) References [ edit ] ^ (#cite_ref-1) "Appeal from the Superior Court of Pinal County Cause No. JV-200300627" (https://web.archive.org/web/20120807141633/http://www.apltwo.ct.state.az.us/Decisions/JV20060049Opinion.pdf) (PDF) . Archived from the original (http://www.apltwo.ct.state.az.us/Decisions/JV20060049Opinion.pdf) (PDF) on 7 August 2012 . Retrieved 5 December 2012 . ^ (#cite_ref-2) "Ferguson Safety Products: About Us" (https://www.preventsuicide.com/the-ferguson-story) . Preventsuicide.com . Retrieved 16 September 2019 . ^ (#cite_ref-3) "Safety Suicide Smock" (http://www.securingcosmos.com/shopexd.asp?id=3494) . September 2007. Archived (https://web.archive.org/web/20070929143356/http://www.securingcosmos.com/shopexd.asp?id=3494) from the original on 29 September 2007 . Retrieved 4 September 2007 . 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American drag queen, designer (1948–2003) Pepper LaBeija Born ( 1948-11-05 ) November 5, 1948 The Bronx (/wiki/The_Bronx) , New York, U.S. Died May 14, 2003 (2003-05-14) (aged 54) Manhattan (/wiki/Manhattan) , New York, U.S. Nationality American (/wiki/Americans) Occupation(s) Drag queen, fashion designer Pepper LaBeija (November 5, 1948 – May 14, 2003) was an American drag queen (/wiki/Drag_queen) and fashion designer. She was known as "the last remaining queen of the Harlem drag balls (/wiki/Ball_culture) ". Early life and career [ edit ] Born in The Bronx (/wiki/The_Bronx) in 1948, Pepper LaBeija first arrived on New York city's gay ballroom scene in the late-1960s and eventually became head of the House of LaBeija (/wiki/House_of_LaBeija) in 1981. [1] (#cite_note-martin-1) While not identifying as a woman, LaBeija had breast implants (/wiki/Breast_implant) and preferred the feminine pronoun she . [1] (#cite_note-martin-1) [2] (#cite_note-latimes-2) LaBeija remained the head of the house (known as "the Mother") until her death in 2003. As the head of the House, LaBeija spoke openly about the importance of providing support and guidance to young gay men arriving on the scene after being alienated from their families. LaBeija was known for Egyptian-inspired runway performances and won approximately 250 ballroom trophies over the course of her career. [3] (#cite_note-doonan-3) Outside of performing, Labeija earned a living producing drag balls and teaching modeling. [2] (#cite_note-latimes-2) Later years and death [ edit ] LaBeija and her companion Pamela Jackson had a daughter together, and LaBeija devoted much of her time to her family, raising her daughter and stepson. In 1992, Pamela Jackson died. As LaBeija's health declined, her children lived with their maternal grandmother. [4] (#cite_note-4) LaBeija suffered from diabetes mellitus type 2 (/wiki/Diabetes_mellitus_type_2) , which resulted in both her feet being amputated. She was largely bedridden for the last ten years of her life. On May 14, 2003, LaBeija died of a heart attack at Roosevelt Hospital (/wiki/Roosevelt_Hospital) in Manhattan (/wiki/Manhattan) at the age of 54. [1] (#cite_note-martin-1) In popular culture [ edit ] LaBeija is best known for her appearances in the documentary films Paris Is Burning (/wiki/Paris_Is_Burning_(film)) (1990) and How Do I Look? (/wiki/How_Do_I_Look) (2006). [5] (#cite_note-5) LaBeija also made appearances on The Joan Rivers Show (/wiki/The_Joan_Rivers_Show) (1991), TV Transvestites (1982), and The Queen (/wiki/The_Queen_(1968_film)) (1968). [6] (#cite_note-6) Malcolm McLaren (/wiki/Malcolm_McLaren) quoted LaBeija in a 1989 song and music video " Deep in Vogue (/wiki/Deep_in_Vogue) ", a tribute to the New York gay balls of the 1980s, runway competitions that involved dance, fashion, and attitude. [7] (#cite_note-7) See also [ edit ] LGBT culture in New York City (/wiki/LGBT_culture_in_New_York_City) List of LGBT people from New York City (/wiki/List_of_LGBT_people_from_New_York_City) Fashion portal (/wiki/Portal:Fashion) LGBT portal (/wiki/Portal:LGBT) References [ edit ] ^ Jump up to: a b c Martin, Douglas (May 26, 2003). "Pepper LaBeija, Queen of Harlem Drag Balls, Is Dead at 53" (https://www.nytimes.com/2003/05/26/arts/pepper-labeija-queen-of-harlem-drag-balls-is-dead-at-53.html) . The New York Times (/wiki/The_New_York_Times) . ^ Jump up to: a b "Pepper LaBeija, 53; Queen of Drag Ball Scene in Harlem" (https://articles.latimes.com/2003/may/29/local/me-passing29.2) . Los Angeles Times . May 29, 2003 . Retrieved March 11, 2015 . ^ (#cite_ref-doonan_3-0) Doonan, Simon (June 16, 2003). "Pater Is Burning! Rad Dads in Drag" (https://observer.com/2003/06/pater-is-burning-rad-dads-in-drag/) . observer.com . Retrieved March 11, 2015 . ^ (#cite_ref-4) Lawrence, Tim (November 21, 2022). "Listen, and You Will Hear all the Houses That Walked There Before: A History of Drag Balls, Houses and the Culture of Voguing" (https://www.academia.edu/1066565) . academia.edu . Academia EDU . Retrieved December 2, 2022 . LaBeija recalled later, while her mother doggedly stuck to calling her by her birth name, William Jackson. ^ (#cite_ref-5) Jones, William (April 1, 1991). "Burning Voices: Redefining "Realness" in Paris is Burning" (https://www.documentary.org/feature/burning-voices-redefining-realness-paris-burning) . documentary.org . documentary . Retrieved December 2, 2022 . As Dorian Corey, another legend, explains, Liz Taylor is famous. So is Pepper Labeija. ^ (#cite_ref-6) Rudolph, Christopher (November 15, 2019). "Paris Is Burning Headed To Criterion Collection With New Footage Galore" (https://www.logotv.com/news/mqnpvo/paris-is-burning-headed-to-criterion-collection-with-new-footage-galore) . logotv.com . logo tv . Retrieved December 2, 2022 . It will even include the 1991 episode of The Joan Rivers Show featuring Livingston with ball community members Dorian Corey, Pepper LaBeija, Freddie Pendavis (/wiki/Freddie_Pendavis) , and Willi Ninja! ^ (#cite_ref-7) Lawrence, Tim (July 16, 2013). "Listen, and You Will Hear all the Houses that Walked There Before: A History of Drag Balls, Houses and the Culture of Voguing. London: Soul Jazz, 2011" (https://www.timlawrence.info/articles2/tag/Pepper+LaBeija) . timlawrence.info . Retrieved December 2, 2022 . ... in 1989 when Willi Ninja appeared on Malcolm McLaren and the Bootzilla Orchestra's Deep in Vogue... Drag ball and voguing culture made its screen breakthrough in 1990 when Livingston's movie, titled Paris Is Burning after the 1986 ball staged by Paris Dupree and the House of Dupree, began to pick up awards at film festivals. Shot between 1986 and 1989, the documentary provided a rich cultural insight into the previously clandestine culture of black and Latin drag balls through its mix of ballroom footage, everyday-life material shot at the piers, and interviews with Pepper LaBeija, Dorian Corey, Angie Xtravaganza and others. External links [ edit ] Pepper LaBeija (https://www.imdb.com/name/nm0495568/) at IMDb (/wiki/IMDb_(identifier)) Sally's Hideaway history (http://www.sallys-hideaway.com/A_Pictorial_History.html) Archived (https://web.archive.org/web/20070401113246/http://www.sallys-hideaway.com/A_Pictorial_History.html) April 1, 2007, at the Wayback Machine (/wiki/Wayback_Machine) v t e Ball culture (/wiki/Ball_culture) Culture Film and television Paris Is Burning (/wiki/Paris_Is_Burning_(film)) (1991) How Do I Look (/wiki/How_Do_I_Look) (2006) Kiki (/wiki/Kiki_(2016_film)) (2016) Strike a Pose (/wiki/Strike_a_Pose) (2016) My House (/wiki/My_House_(2018_TV_series)) (2018) Pose (/wiki/Pose_(TV_series)) (2018–2021) " Pilot (/wiki/Pilot_(Pose)) " Legendary (/wiki/Legendary_(TV_series)) (2020–2022) CBX: Canadian Ballroom Extravaganza (/wiki/CBX:_Canadian_Ballroom_Extravaganza) (2022) Dance Vogue (/wiki/Vogue_(dance)) Language Banjee (/wiki/Banjee) Kiki (/wiki/Kiki_(social_gathering)) Throw shade (/wiki/Throw_shade) Yas (/wiki/Yas_(slang)) Slay (/wiki/Slay_(slang)) Houses and members The House of Amazon Amazon Leiomy (/wiki/Leiomy_Maldonado) (founder) The House of Aviance (/wiki/House_of_Aviance) Mother Juan Aviance (/wiki/Mother_Juan_Aviance) (founder) Aviance Records (/wiki/Aviance_Records) (label) Erickatoure Aviance (/wiki/Erickatoure_Aviance) Jean-Philippe Aviance (/wiki/Jean-Philippe_Aviance) Kevin Aviance (/wiki/Kevin_Aviance) Kim Aviance (/wiki/Kim_Aviance) Nita Aviance (/wiki/Nita_Aviance) Tamsier Joof Aviance (/wiki/Tamsier_Joof_Aviance) The House of Corey Dorian Corey (/wiki/Dorian_Corey) (founder) The House of Dupree Paris Dupree (/wiki/Paris_Dupree) (founder & inventor of vogue) The House of Ebony Richard Ebony (co-founder) Larry Ebony (co-founder) The House of LaBeija (/wiki/House_of_LaBeija) Crystal LaBeija (/wiki/Crystal_LaBeija) (co-founder) Lottie LaBeija (co-founder) Kia LaBeija (/wiki/Kia_LaBeija) Pepper LaBeija The House of Milan Kevin Milan (founder) The House of St. Laurent Chris St. Laurent (co-founder) Robbie St. Laurent (co-founder) Terry St. Laurent (co-founder) Octavia St. Laurent (/wiki/Octavia_St._Laurent) The House of Xtravaganza (/wiki/House_of_Xtravaganza) Hector Valle (founder) Angie Xtravaganza (/wiki/Angie_Xtravaganza) Danni Xtravaganza (/wiki/Danni_Xtravaganza) Hector Xtravaganza (/wiki/Hector_Xtravaganza) Jose Gutierez Xtravaganza (/wiki/Jose_Gutierez_Xtravaganza) Lorena Xtravaganza (/wiki/Lorena_Xtravaganza) Luis Camacho (/wiki/Luis_Camacho_(dancer)) Venus Xtravaganza (/wiki/Venus_Xtravaganza) Related topics African culture (/wiki/African_culture) African dance (/wiki/African_dance) African-American culture (/wiki/African-American_culture) African-American dance (/wiki/African-American_dance) Cross dressing ball (/wiki/Cross_dressing_ball) Imperial Court System (/wiki/Imperial_Court_System) " Vogue (/wiki/Vogue_(Madonna_song)) " Blond Ambition World Tour (/wiki/Blond_Ambition_World_Tour) African-American LGBT community (/wiki/African-American_LGBT_community) Authority control databases (/wiki/Help:Authority_control) International ISNI (https://isni.org/isni/0000000049015124) VIAF (https://viaf.org/viaf/39137604) WorldCat (https://id.oclc.org/worldcat/entity/E39PBJyCKGfH6CcTT9Ff9JxVYP) National Germany (https://d-nb.info/gnd/1140791370) Israel (http://olduli.nli.org.il/F/?func=find-b&local_base=NLX10&find_code=UID&request=987007391529105171) United States (https://id.loc.gov/authorities/no2006103305) This article about an American entertainer is a stub (/wiki/Wikipedia:Stub) . 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Method of reusing or reprocessing used clothing, fibrous material and rags Textiles collection boxes in Brussels (/wiki/Brussels) Part of a series (/wiki/Category:Clothing_and_the_environment) on Clothing and the environment Environmental impact of fashion (/wiki/Environmental_impact_of_fashion) Key issues Cotton industry (/wiki/Cotton_industry) Ecological footprint (/wiki/Ecological_footprint) Fast fashion (/wiki/Fast_fashion) Fur trade (/wiki/Fur_trade) Global trade of secondhand clothing (/wiki/Global_trade_of_secondhand_clothing) Impact investing (/wiki/Impact_investing) Microplastics (/wiki/Microplastics) Textile performance (/wiki/Textile_performance) By type Cashmere (/wiki/Cashmere_wool#Criticism_of_industry) Fur farming (/wiki/Environmental_impacts_of_fur_farming) Leather (/wiki/Environmental_impact_of_leather) Sustainability Anti-fashion (/wiki/Anti-fashion) Biodegradable athletic footwear (/wiki/Biodegradable_athletic_footwear) Circular fashion (/wiki/Circular_fashion) Clothing swap (/wiki/Clothing_swap) Cotton recycling (/wiki/Cotton_recycling) Environmental design (/wiki/Environmental_design) Environmental impact design (/wiki/Environmental_impact_design) Green textile (/wiki/Green_textile) Public interest design (/wiki/Public_interest_design) Organic cotton (/wiki/Organic_cotton) Reconstructed clothing (/wiki/Reconstructed_clothing) Slow fashion (/wiki/Slow_fashion) Socially responsible investing (/wiki/Socially_responsible_investing) Sustainable (/wiki/Sustainability) Advertising (/wiki/Sustainable_advertising) Design (/wiki/Sustainable_design) Fashion (/wiki/Sustainable_fashion) Industries (/wiki/Sustainable_industries) Market (/wiki/Sustainable_market) Procurement (/wiki/Sustainable_procurement) Transport (/wiki/Sustainable_transport) Textile recycling Sustainability of vintage fashion (/wiki/Environmental_sustainability_of_vintage_fashion) Trashion (/wiki/Trashion) Zero-waste fashion (/wiki/Zero-waste_fashion) Related Business ethics (/wiki/Business_ethics) Green marketing (/wiki/Green_marketing) RiverBlue (/wiki/RiverBlue) The True Cost (/wiki/The_True_Cost) Environmental record of Nike (/wiki/Nike,_Inc.#Environmental_record) Ecological design (/wiki/Ecological_design) Laundry wastewater (/wiki/Laundry_wastewater) Vintage clothing (/wiki/Vintage_clothing) Fashion portal (/wiki/Portal:Fashion) Environment portal (/wiki/Portal:Environment) v t e Textile recycling is the process of recovering fiber (/wiki/Fiber) , yarn (/wiki/Yarn) , or fabric (/wiki/Textile) and reprocessing the material into new, useful products. [1] (#cite_note-1) Textile waste is split into pre-consumer and post-consumer waste and is sorted into five different categories derived from a pyramid model. [2] (#cite_note-:02-2) [3] (#cite_note-:10-3) Textiles can be either reused or mechanically/chemically recycled. [4] (#cite_note-:0-4) [5] (#cite_note-:6-5) There has been a shift in recent years toward recycling textiles because of new regulations in several countries. [6] (#cite_note-:13-6) In response, companies are developing products from both post-consumer waste and recycled materials such as plastics. Results from academic studies demonstrate that textile reuse and recycling are more advantageous than incineration and landfilling. [7] (#cite_note-:14-7) Waste [ edit ] Over 100 billion garments are produced annually, most of which end up in incinerators or landfills. The EPA reported that in 2018 alone, 17 million tons of textile municipal solid waste (MSW) was generated. The fashion industry is arguably one of the second biggest polluters next to the oil industry. [8] (#cite_note-8) By textile recycling, it decreases landfill space, creates less pollution, and reduces the consumption of power and water. Most materials used in textile recycling can be split into two categories: pre-consumer and post-consumer waste. [2] (#cite_note-:02-2) Poster promoting textile recycling, World War II (/wiki/World_War_II) , United Kingdom Pre-consumer [ edit ] Pre-consumer waste involves secondary materials from the textile, fiber, and cotton industries. [2] (#cite_note-:02-2) These products are repurposed for other industries i.e. furniture, mattress, coarse yarn, home building, automotive, paper, and apparel. [2] (#cite_note-:02-2) Pre-consumer can also refer to overstock or left-over garments that retailers have not been able to sell to consumers. These left-over garments are then repurposed and used to create new pieces of clothing while being environmentally sustainable. [9] (#cite_note-9) Post-consumer [ edit ] Post-consumer waste consists of textile garments and household articles that have been discarded by their owners. These textile articles are typically discarded because they are damaged, worn out, or outdated. 85% of post-consumer waste in the United States, however, is found in landfills. [2] (#cite_note-:02-2) The remaining post-consumer waste can be directed towards second-hand retailers to be resold or passed on to warehouses dedicated to textile recycling. Categories [ edit ] Textiles are sorted into categories according to the pyramid model, which organizes textiles by their quality and usability. [3] (#cite_note-:10-3) These category placements determine which processes are used to recycle or reuse the textile. [3] (#cite_note-:10-3) Such categories are: textiles for used clothing markets, textiles for conversion, wiping and polishing cloths, textiles sent to landfills and incinerators, and diamonds. [3] (#cite_note-:10-3) Diamonds [ edit ] Diamonds are older, trendier clothing items that are from high-end, well-known brands. [2] (#cite_note-:02-2) Diamonds make up 1–2% of recycled textiles. [2] (#cite_note-:02-2) Despite being the smallest category, diamonds generate the largest amount of profit per item for recycling companies. [2] (#cite_note-:02-2) Clothing and accessories that are considered diamonds include couture, Harley Davidson (/wiki/Harley_Davidson) , Levi's (/wiki/Levi%27s) , Ralph Lauren (/wiki/Ralph_Lauren) , and luxury fibers (for example cashmere (/wiki/Cashmere_wool) ). [2] (#cite_note-:02-2) These second-hand clothing articles are in high demand and can be sold online, in retail boutiques, or in vintage shops. [2] (#cite_note-:02-2) Landfill and incineration [ edit ] Around 7% of recycled textile products are either incinerated or placed in a landfill. [2] (#cite_note-:02-2) Textiles that are placed in landfills have no value and are unable to be repurposed; this process is costly and is avoided when possible. [2] (#cite_note-:02-2) Textiles can also be incinerated to produce electrical energy. [2] (#cite_note-:02-2) This practice is more common in Europe than in the United States because European boiler systems have higher capabilities than American boiler systems. [2] (#cite_note-:02-2) Although incinerating municipal solid waste (MSW) is not yet feasible in the United States, over two thirds of MSW is incinerated in countries such as Denmark, Japan, and Switzerland. [10] (#cite_note-:9-10) The energy values of burning MSW have been comparable with oil in terms of calories; however, there are obstacles to this process. These obstacles include increasing incineration efficiency and reducing harmful byproducts of incineration. [10] (#cite_note-:9-10) Wiping and polishing cloths [ edit ] Around 17% of used textiles are sorted into the wiping and polishing cloth category. [2] (#cite_note-:02-2) These textiles are deemed un-wearable and are then used to create wiping and polishing cloths. [2] (#cite_note-:02-2) Wiping and polishing cloths can be made from a combination of oleophilic and hydrophilic fibers which are often useful in industrial application. [2] (#cite_note-:02-2) Textiles, such as T-shirts, are commonly used to create these cloths due to its naturally absorbent cotton fibers. [2] (#cite_note-:02-2) Conversion to new products [ edit ] 29% of textile waste is reengineered into new products if deemed unusable. [2] (#cite_note-:02-2) Usability depends on whether or not the textiles are stained or torn beyond repair. [2] (#cite_note-:02-2) Shoddy (/wiki/Shoddy) and mungo are the two main results of the reengineering process. [2] (#cite_note-:02-2) Shoddy involves creating new yarn products from the old materials, and is one of the most historical examples of textile recycling. [11] (#cite_note-:7-11) One of the largest producers of shoddy yarn is Panipat in North India, which has over 300 mills. [12] (#cite_note-:8-12) The majority of shoddy in Panipat is used to create knit blankets, making up over 90% of the blankets that are given to communities in disaster relief. [12] (#cite_note-:8-12) Mungo was invented after shoddy and refers to the process of using textile clippings to make wool. This wool is exported to European countries, whose cooler climates and flammability regulations result in a greater need for mungo. [11] (#cite_note-:7-11) Shoddy and mungo can be utilized for both high and low quality products. These reengineered fibers have been used in cashmere sweaters and in stuffing for furniture, automobiles, and punching bags. [2] (#cite_note-:02-2) Used clothing markets [ edit ] 48% of textiles are sorted into the used clothing markets category. [2] (#cite_note-:02-2) Western countries export used textiles to developing countries or to disaster relief. [2] (#cite_note-:02-2) In developing nations, used Western textiles are highly valued as they are often more affordable than local textiles. [2] (#cite_note-:02-2) Used Western textiles are also sold to the lower and middle classes in more developed countries whose incomes are not large enough to purchase more-expensive, local textiles. [2] (#cite_note-:02-2) Because textile exportation is a global industry, exporters must be conscious of the varying trade regulations and restrictions in different countries. [3] (#cite_note-:10-3) According to Green America recycled textiles are sorted by color with zippers and buttons being removed using magnets and are then spun into yards of thread using weaving. This avoids materials being sent to landfills or incinerators. [24] Processing [ edit ] Reuse [ edit ] Textile reuse is the preferable processing method because it extends the original product's lifetime. [4] (#cite_note-:0-4) Reuse occurs when textile owners rent, trade, swap, borrow, inherit products through second-hand stores, garage sales, online/flea markets, or charities. [4] (#cite_note-:0-4) In reusing textiles, the textile is sometimes changed through cutting and sewing (/wiki/Cut_and_sew) or through decorating the textiles with paints, patches and other textiles in a process referred to as DIY (/wiki/Do_it_yourself) . Recycling [ edit ] Clothes recycling bin in Tin King Estate (/wiki/Tin_King_Estate) , Hong Kong Mechanical [ edit ] Mechanical processing is a recycling method in which textile fabric is broken down while the fibers are still preserved. [5] (#cite_note-:6-5) Once shredded down, these fibers can be spun to create new fabrics. [5] (#cite_note-:6-5) This is the most commonly used technique to recycle textiles and is a process that is particularly well developed for cotton textiles. [5] (#cite_note-:6-5) Mechanical processing protocols can differ depending on the material, so it also requires several levels of sorting before the process begins. Textiles must be separated by fabric composition and by color to avoid re-dying and bleaching of materials. [13] (#cite_note-:1-13) Once sorted, the textile materials can then be shredded, washed, and separated into smaller fibers. [13] (#cite_note-:1-13) These individual fibers are then aligned together in a process known as carding (/wiki/Carding) in preparation to be spun together. Some fibers, including cotton, must be spun along with a carrier fiber to maintain higher quality. [13] (#cite_note-:1-13) These carrier fibers are most commonly cotton, organic cotton, or polyester. Once the fibers are spun into new yarn, they can be used to create new textiles. This process functions as a semi-closed loop of recycling. [5] (#cite_note-:6-5) The number of times a material can be recycled is dependent on the quality of the fibers, which decreases with each cycle of mechanical processing. Mechanical processing can also be used with materials other than textiles. One common example of this is polyester. [13] (#cite_note-:1-13) In the case of polyester, the recycled materials are plastic bottles made of polyethylene terephthalate (/wiki/Polyethylene_terephthalate) (PET). [13] (#cite_note-:1-13) In a similar manner to textiles, plastics are sorted by color and type when they arrive at recycling facilities. [13] (#cite_note-:1-13) The plastic is then shredded and washed to break it down and remove contaminants. [13] (#cite_note-:1-13) The dried plastic remnants are molded into PET pellets and then undergo extrusion (/wiki/Extrusion) to create new fibers. [13] (#cite_note-:1-13) These new fibers can then be used to create new textiles. Chemical [ edit ] Chemical processing occurs when textile reuse is infeasible. [14] (#cite_note-:3-14) This process is not yet widely implemented, but there are companies that are researching and integrating chemical recycling. [14] (#cite_note-:3-14) The major small scale production sites are from Eco Circle, Worn Again, Evrnu, and Ioncell. [14] (#cite_note-:3-14) Chemical recycling is used on synthetic fibers, such as polyethylene terephthalate (/wiki/Polyethylene_terephthalate) (PET). [14] (#cite_note-:3-14) These synthetic fibers can be broken down to create fibers, yarn, and textiles. [14] (#cite_note-:3-14) For PET, the starting materials are first broken down to the molecular level by using chemicals that facilitate glycolysis (/wiki/Glycolysis) , methanolysis (/wiki/Transesterification) , hydrolysis (/wiki/Hydrolysis) , and/or ammonolysis (/wiki/Aminolysis) . [14] (#cite_note-:3-14) This act of depolymerization (/wiki/Depolymerization) also removes contaminants from the starting material such as dyes (/wiki/Dyes) and unwanted fibers. [15] (#cite_note-15) From here, the material is polymerized and used to produce textile products. [13] (#cite_note-:1-13) Unlike the mechanical method of recycling, chemical recycling produces high-quality fibers similar to the original fiber used. [13] (#cite_note-:1-13) Therefore, no new fibers are needed to support the product of the chemical process. [13] (#cite_note-:1-13) Different chemicals and processes are used for other materials such as nylon and cellulose-based fibers, but the overall structure of the process is the same. [13] (#cite_note-:1-13) Textiles made from recycled materials [ edit ] Many companies develop their products from a combination of recycled post-consumer textile waste as well as other recycled materials such as plastics. [16] (#cite_note-16) This can be done for textiles other than clothing as well. [17] (#cite_note-:11-17) One specific region that is more progressive in applications of recycled textiles is Scandinavia, which has created mainstream market products. [17] (#cite_note-:11-17) In Sweden, companies such as Lindex and H&M are including pre-consumer and post-consumer waste fibers within their new clothing lines. [17] (#cite_note-:11-17) Growth [ edit ] Main article: Sustainable fashion (/wiki/Sustainable_fashion) A shift toward recycled textiles [ edit ] New regulations for the textile industry have been introduced in several countries that favor the use of recycled materials. On March 30, 2022, the European Commission (/wiki/European_Commission) published the EU Strategy for Sustainable and Circular Textiles which outlines the EU’s action plan to achieve better sustainability and regulation within the textile industry. [6] (#cite_note-:13-6) The European Commission’s goal for 2030 is to encourage consumers to invest in high quality products rather than “fast-fashion”, and to ensure all textile products are durable, whether they are recycled materials or not. [6] (#cite_note-:13-6) The EU's strategy includes regulating overproduction, reducing the release of microplastics (/wiki/Microplastics) during production, and utilizing EU Extended Producer Responsibility to ensure producers are acting sustainably. [6] (#cite_note-:13-6) In response to shifting consumer expectations, investments in textile recycling companies have increased to achieve better sustainability in the textile industry. [18] (#cite_note-18) Inditex (/wiki/Inditex) and Bill Gates’ Breakthrough Energy Ventures invested in the start-up recycling company Circ in July 2022, which has patented new technologies to reengineer used fibers. [19] (#cite_note-19) In July 2021, H&M (/wiki/H%26M) and Adidas (/wiki/Adidas) invested in the chemical recycling company Infinited Fiber Company (IFC) which produces a reengineered fiber that is similar to cotton and is biodegradable. [20] (#cite_note-20) Goldman Sachs (/wiki/Goldman_Sachs) led an investment in mechanically recycled cotton company Recover Textile Systems (/wiki/Recover_Textile_Systems) in June 2022. [21] (#cite_note-21) Many luxury fashion brands are publicly displaying their investment in sustainability approaches, with a common goal to shift towards circular systems and utilizing re-engineered and/or biodegradable materials in their collections. [22] (#cite_note-22) Environmental impact [ edit ] Textile reuse and textile recycling processes are the most environmentally friendly methods of processing textiles, while incineration and landfilling are considered to be the least environmentally friendly. [7] (#cite_note-:14-7) When comparing textile reuse to textile recycling, textile reuse is more advantageous. [7] (#cite_note-:14-7) A Swedish study found that for each tonne of textile waste, textile reuse can save 8 tonnes of CO 2 in terms of global warming potential (/wiki/Global_warming_potential) (GWP) and 164 GJ of energy usage. [23] (#cite_note-:15-23) In comparison, textile recycling saves 5.6 tonnes of CO 2 in terms of GWP and 116 GJ of energy usage. [23] (#cite_note-:15-23) There are a few circumstances under which recycling and reuse might be less effective. For instance, regarding recycling, the benefits might be offset if the replacement rates are relatively low, if recycling is energized by fossil fuels, or if the avoided manufacture procedures are clean. Also, with respect to reuse, the environmental impact of transport may surpass the upsides of the avoided manufacturing, unless the use life of the reused item is considerably prolonged. These circumstances should be taken into account when advocating, designing and implementing new textile recycling and reuse procedures. [24] (#cite_note-24) See also [ edit ] Global trade of secondhand clothing (/wiki/Global_trade_of_secondhand_clothing) Environmental impact of fashion (/wiki/Environmental_impact_of_fashion) Sustainable fashion (/wiki/Sustainable_fashion) References [ edit ] ^ (#cite_ref-1) Hawley, J. M. (2009-01-01), Blackburn, R. S. (ed.), "8 - Understanding and improving textile recycling: a systems perspective" (https://www.sciencedirect.com/science/article/pii/B9781845694531500085) , Sustainable Textiles , Woodhead Publishing Series in Textiles, Woodhead Publishing, pp. 179–199, ISBN (/wiki/ISBN_(identifier)) 978-1-84569-453-1 , retrieved 2022-11-04 ^ Jump up to: a b c d e f g h i j k l m n o p q r s t u v w x y z Hawley, J. M. (2006-01-01). "Textile recycling: A system perspective" (http://www.sciencedirect.com/science/article/pii/B9781855739529500026) . In Wang, Youjiang (ed.). 2 - Textile recycling: a system perspective . Woodhead Publishing Series in Textiles. Woodhead Publishing. pp. 7–24. doi (/wiki/Doi_(identifier)) : 10.1533/9781845691424.1.7 (https://doi.org/10.1533%2F9781845691424.1.7) . ISBN (/wiki/ISBN_(identifier)) 9781855739529 . Retrieved 2019-11-08 . {{ cite book (/wiki/Template:Cite_book) }} : |work= ignored ( help (/wiki/Help:CS1_errors#periodical_ignored) ) ^ Jump up to: a b c d e Hawley, Jana M. (2014-01-01), Worrell, Ernst; Reuter, Markus A. (eds.), "Chapter 15 - Textile Recycling" (http://www.sciencedirect.com/science/article/pii/B9780123964595000155) , Handbook of Recycling , Elsevier: 211–217, doi (/wiki/Doi_(identifier)) : 10.1016/b978-0-12-396459-5.00015-5 (https://doi.org/10.1016%2Fb978-0-12-396459-5.00015-5) , ISBN (/wiki/ISBN_(identifier)) 9780123964595 , retrieved 2019-11-08 ^ Jump up to: a b c Juanga-Labayen, Jeanger P.; Labayen, Ildefonso V.; Yuan, Qiuyan (2022-03-06). "A Review on Textile Recycling Practices and Challenges" (https://doi.org/10.3390%2Ftextiles2010010) . Textiles . 2 (1): 174–188. doi (/wiki/Doi_(identifier)) : 10.3390/textiles2010010 (https://doi.org/10.3390%2Ftextiles2010010) . ISSN (/wiki/ISSN_(identifier)) 2673-7248 (https://www.worldcat.org/issn/2673-7248) . ^ Jump up to: a b c d e Ribul, Miriam; Lanot, Alexandra; Tommencioni Pisapia, Chiara; Purnell, Phil; McQueen-Mason, Simon J.; Baurley, Sharon (2021-12-01). "Mechanical, chemical, biological: Moving towards closed-loop bio-based recycling in a circular economy of sustainable textiles" (https://doi.org/10.1016%2Fj.jclepro.2021.129325) . Journal of Cleaner Production . 326 : 129325. doi (/wiki/Doi_(identifier)) : 10.1016/j.jclepro.2021.129325 (https://doi.org/10.1016%2Fj.jclepro.2021.129325) . ISSN (/wiki/ISSN_(identifier)) 0959-6526 (https://www.worldcat.org/issn/0959-6526) . S2CID (/wiki/S2CID_(identifier)) 241853067 (https://api.semanticscholar.org/CorpusID:241853067) . ^ Jump up to: a b c d "Textiles strategy" (https://environment.ec.europa.eu/strategy/textiles-strategy_en) . environment.ec.europa.eu . Retrieved 2022-08-24 . ^ Jump up to: a b c Sandin, Gustav; Peters, Greg M. (2018-05-20). "Environmental impact of textile reuse and recycling – A review" (https://doi.org/10.1016%2Fj.jclepro.2018.02.266) . Journal of Cleaner Production . 184 : 353–365. doi (/wiki/Doi_(identifier)) : 10.1016/j.jclepro.2018.02.266 (https://doi.org/10.1016%2Fj.jclepro.2018.02.266) . ISSN (/wiki/ISSN_(identifier)) 0959-6526 (https://www.worldcat.org/issn/0959-6526) . ^ (#cite_ref-8) "Style that's sustainable: A new fast-fashion formula | McKinsey" (https://www.mckinsey.com/capabilities/sustainability/our-insights/style-thats-sustainable-a-new-fast-fashion-formula) . ^ (#cite_ref-9) Marques, António Dinis; Moreira, Beatriz; Cunha, Joana; Moreira, Sofia (2019-01-01). "From waste to fashion – a fashion upcycling contest" (https://doi.org/10.1016%2Fj.procir.2019.04.217) . Procedia CIRP . 84 : 1063–1068. doi (/wiki/Doi_(identifier)) : 10.1016/j.procir.2019.04.217 (https://doi.org/10.1016%2Fj.procir.2019.04.217) . hdl (/wiki/Hdl_(identifier)) : 1822/61406 (https://hdl.handle.net/1822%2F61406) . ISSN (/wiki/ISSN_(identifier)) 2212-8271 (https://www.worldcat.org/issn/2212-8271) . ^ Jump up to: a b Wang, Youjiang (2010-03-01). "Fiber and Textile Waste Utilization". Waste and Biomass Valorization . 1 (1): 135–143. doi (/wiki/Doi_(identifier)) : 10.1007/s12649-009-9005-y (https://doi.org/10.1007%2Fs12649-009-9005-y) . ISSN (/wiki/ISSN_(identifier)) 1877-265X (https://www.worldcat.org/issn/1877-265X) . S2CID (/wiki/S2CID_(identifier)) 94134460 (https://api.semanticscholar.org/CorpusID:94134460) . ^ Jump up to: a b Fangueiro, Raul; Rana, Sohel (2016-02-10). Natural fibres : advances in science and technology towards industrial applications : from science to market . Fangueiro, Raul Manuel Esteves de Sousa,, Rana, Sohel. Dordrecht. ISBN (/wiki/ISBN_(identifier)) 9789401775151 . OCLC (/wiki/OCLC_(identifier)) 938890984 (https://www.worldcat.org/oclc/938890984) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) ^ Jump up to: a b Palm, David. (2014). Towards a new nordic textile commitment . [Place of publication not identified]: Nordic Council Of Ministers. ISBN (/wiki/ISBN_(identifier)) 978-9289327985 . OCLC (/wiki/OCLC_(identifier)) 922385956 (https://www.worldcat.org/oclc/922385956) . ^ Jump up to: a b c d e f g h i j k l "Fiber recycling using mechanical and chemical processes" (https://www.cattermoleconsulting.com/fiber-recycling-using-mechanical-and-chemical-processes/) . Cattermole Consulting Inc . 2019-06-10 . Retrieved 2019-11-08 . ^ Jump up to: a b c d e f Palmé, Anna (2016). “ Recycling of cotton textiles: Characterization, pretreatment, and purification. (https://web.archive.org/web/20191108061207/https://pdfs.semanticscholar.org/e0eb/db493ab662bd118eafe12811624e190395bf.pdf) ” Retrieved 2019-11-07. ^ (#cite_ref-15) "A New Textiles Economy: Redesigning fashion's future" (https://ellenmacarthurfoundation.org/a-new-textiles-economy) . ellenmacarthurfoundation.org . Retrieved 2022-11-04 . ^ (#cite_ref-16) " Prison Couture mainlines eco-ethics (https://web.archive.org/web/20120324150738/http://news.err.ee/Culture/6927f9ec-b20e-448b-b78d-fefe0d8f009d) ". Estonian Public Broadcasting (/wiki/Estonian_Public_Broadcasting) . 9 January 2011. Archived from the original (http://news.err.ee/Culture/6927f9ec-b20e-448b-b78d-fefe0d8f009d) on 24 March 2012. Retrieved 19 May 2012. ^ Jump up to: a b c Leal Filho, Walter; Ellams, Dawn; Han, Sara; Tyler, David; Boiten, Valérie Julie; Paço, Arminda; Moora, Harri; Balogun, Abdul-Lateef (2019-05-01). "A review of the socio-economic advantages of textile recycling" (http://eprints.whiterose.ac.uk/142236/1/Leal%20Filho_Socio%20Economic%20Advantages%20of%20Textile%20Recycling-text.pdf) (PDF) . Journal of Cleaner Production . 218 : 10–20. doi (/wiki/Doi_(identifier)) : 10.1016/j.jclepro.2019.01.210 (https://doi.org/10.1016%2Fj.jclepro.2019.01.210) . ISSN (/wiki/ISSN_(identifier)) 0959-6526 (https://www.worldcat.org/issn/0959-6526) . S2CID (/wiki/S2CID_(identifier)) 159096748 (https://api.semanticscholar.org/CorpusID:159096748) . ^ (#cite_ref-18) TFL (2022-07-12). "A Running Timeline of Sustainable Investments and M&A" (https://www.thefashionlaw.com/a-running-timeline-of-sustainable-centric-investments-and-ma/) . The Fashion Law . Retrieved 2022-08-24 . ^ (#cite_ref-19) Douglass, Rachel (2022-07-12). "Circular textile company Circ secures funding with backing from Inditex" (https://fashionunited.uk/news/business/circular-textile-company-circ-secures-funding-with-backing-from-inditex/2022071264073) . FashionUnited . Retrieved 2022-08-24 . ^ (#cite_ref-20) WW, FashionNetwork com. "H&M, Bestseller and Adidas invest in circular fibre innovation" (https://ww.fashionnetwork.com/news/H-m-bestseller-and-adidas-invest-in-circular-fibre-innovation,1317081.html) . FashionNetwork.com . Retrieved 2022-08-24 . ^ (#cite_ref-21) Armental, Maria (2022-06-09). "Goldman Sachs Leads $100 Million Investment in Sustainable Textile Company Recover" (https://www.wsj.com/articles/goldman-sachs-leads-100-million-investment-in-sustainable-textile-company-recover-11654747260) . Wall Street Journal . ISSN (/wiki/ISSN_(identifier)) 0099-9660 (https://www.worldcat.org/issn/0099-9660) . Retrieved 2022-08-24 . ^ (#cite_ref-22) Muthu, Subramanian Senthilkannan; Gardetti, Miguel Angel (2020-03-19). Sustainability in the Textile and Apparel Industries: Consumerism and Fashion Sustainability . Springer Nature. ISBN (/wiki/ISBN_(identifier)) 978-3-030-38532-3 . ^ Jump up to: a b Zamani, Bahareh; Svanström, Magdalena; Peters, Gregory; Rydberg, Tomas (2014-11-05). "A Carbon Footprint of Textile Recycling: A Case Study in Sweden: Carbon Footprint of Textile Recycling" (https://onlinelibrary.wiley.com/doi/10.1111/jiec.12208) . Journal of Industrial Ecology . 19 (4): 676–687. doi (/wiki/Doi_(identifier)) : 10.1111/jiec.12208 (https://doi.org/10.1111%2Fjiec.12208) . S2CID (/wiki/S2CID_(identifier)) 154358783 (https://api.semanticscholar.org/CorpusID:154358783) . ^ (#cite_ref-24) Sandin, Gustav; Peters, Greg M. (2018-05-20). "Environmental impact of textile reuse and recycling – A review" (https://doi.org/10.1016%2Fj.jclepro.2018.02.266) . Journal of Cleaner Production . 184 : 353–365. doi (/wiki/Doi_(identifier)) : 10.1016/j.jclepro.2018.02.266 (https://doi.org/10.1016%2Fj.jclepro.2018.02.266) . ISSN (/wiki/ISSN_(identifier)) 0959-6526 (https://www.worldcat.org/issn/0959-6526) . 24. https://www.greenamerica.org/unraveling-fashion-industry/what-really-happens-unwanted-clothes (https://www.greenamerica.org/unraveling-fashion-industry/what-really-happens-unwanted-clothes) v t e Recycling (/wiki/Recycling) Materials (/wiki/Recycling_by_material) Aluminium (/wiki/Aluminium_recycling) Asphalt (/wiki/Asphalt_concrete#Recycling) Concrete (/wiki/Concrete_recycling) Copper (/wiki/Copper#Recycling) Cotton (/wiki/Cotton_recycling) Energy (/wiki/Energy_recycling) Glass (/wiki/Glass_recycling) Gypsum (/wiki/Gypsum_recycling) Paper (/wiki/Paper_recycling) Plastic (/wiki/Plastic_recycling) Refrigerant (/wiki/Refrigerant_reclamation) Scrap (/wiki/Scrap) Timber (/wiki/Timber_recycling) Cooking oil (/wiki/Yellow_grease) Water (/wiki/Reclaimed_water) Products (/wiki/Recycling_by_product) Appliances (/wiki/Appliance_recycling) Automotive oil (/wiki/Automotive_oil_recycling) Batteries (/wiki/Battery_recycling) Bottles (/wiki/Bottle_recycling) PET bottles (/wiki/PET_bottle_recycling) Computers (/wiki/Computer_recycling) Drugs (/wiki/Drug_recycling) Fluorescent lamps (/wiki/Fluorescent_lamp_recycling) Lumber (/wiki/Reclaimed_lumber) Mobile phones (/wiki/Mobile_phone_recycling) Paint (/wiki/Paint_recycling) Ships (/wiki/Ship_disposal) Textiles Tires (/wiki/Tire_recycling) Vehicles (/wiki/Vehicle_recycling) Apparatus Bins (/wiki/Recycling_bin) Blue bags (/wiki/Blue_bag) Blue boxes (/wiki/Blue_box_recycling_system) Codes (/wiki/Recycling_codes) Collection (/wiki/Kerbside_collection) Materials recovery facility (/wiki/Materials_recovery_facility) Waste sorting (/wiki/Waste_sorting) Countries Rate by country (/wiki/Recycling_rates_by_country) Australia (/wiki/Recycling_in_Australia) Brazil (/wiki/Recycling_in_Brazil) Canada (/wiki/Recycling_in_Canada) Ireland (/wiki/Recycling_in_the_Republic_of_Ireland) Israel (/wiki/Recycling_in_Israel) Japan (/wiki/Recycling_in_Japan) Malaysia (/wiki/Recycling_in_Malaysia) The Netherlands (/wiki/Recycling_in_the_Netherlands) Switzerland (/wiki/Waste_management_in_Switzerland#Recycling) Taiwan (/wiki/Recycling_in_Taiwan) United Kingdom (/wiki/Recycling_in_the_United_Kingdom) Northern Ireland (/wiki/Recycling_in_Northern_Ireland) United States (/wiki/Recycling_in_the_United_States) Concepts Circular economy (/wiki/Circular_economy) Dematerialization (/wiki/Dematerialization_(products)) Downcycling (/wiki/Downcycling) Durable good (/wiki/Durable_good) Eco-industrial park (/wiki/Eco-industrial_park) Ecological design (/wiki/Ecological_design) Extended producer responsibility (/wiki/Extended_producer_responsibility) Green economy (/wiki/Green_economy) Industrial ecology (/wiki/Industrial_ecology) Industrial metabolism (/wiki/Industrial_metabolism) Interchangeable parts (/wiki/Interchangeable_parts) Land recycling (/wiki/Land_recycling) Material flow analysis (/wiki/Material_flow_analysis) Precycling (/wiki/Precycling) 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(/wiki/Ethical_consumerism) Freeganism (/wiki/Freeganism) Reverse vending machine (/wiki/Reverse_vending_machine) Simple living (/wiki/Simple_living) Waste (/wiki/Waste) Waste-to-energy (/wiki/Waste-to-energy) Waste collection (/wiki/Waste_collection) Waste management law (/wiki/Waste_management_law) Waste management (/wiki/Waste_management) Environment portal (/wiki/Portal:Environment) Category (/wiki/Category:Recycling) by country (/wiki/Category:Recycling_by_country) by material (/wiki/Category:Recycling_by_material) by product (/wiki/Category:Recycling_by_product) organizations (/wiki/Category:Recycling_organizations) Index (/wiki/Index_of_recycling_articles) Commons (https://commons.wikimedia.org/wiki/Category:Recycling) v t e Textile arts (/wiki/Textile_arts) Fundamentals Appliqué (/wiki/Appliqu%C3%A9) Beadwork (/wiki/Beadwork) Crochet (/wiki/Crochet) Dyeing (/wiki/Dyeing) Embroidery (/wiki/Embroidery) Fabric (/wiki/Textile) Felting (/wiki/Felt) Fiber (/wiki/Fiber) Knitting 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Byzantine silk (/wiki/Byzantine_silk) Clothing and textiles (/wiki/History_of_clothing_and_textiles) Silk (/wiki/History_of_silk) Quilting (/wiki/History_of_quilting) Silk in the Indian subcontinent (/wiki/Silk_in_the_Indian_subcontinent) Textile manufacturing by pre-industrial methods (/wiki/Textile_manufacturing_by_pre-industrial_methods) Textiles in the British Industrial Revolution (/wiki/Textile_manufacture_during_the_British_Industrial_Revolution) Timeline of textile technology (/wiki/Timeline_of_clothing_and_textiles_technology) Regional and ethnic African (/wiki/African_textiles) Kongo (/wiki/Kongo_textiles) Kuba (/wiki/Kuba_textiles) Australian Aboriginal (/wiki/Australian_Aboriginal_fibrecraft) Hmong (/wiki/Hmong_textile_art) Burmese Acheik (/wiki/Acheik) Indonesian Balinese (/wiki/Balinese_textiles) Sumba (/wiki/Textiles_of_Sumba) Indigenous peoples of the Americas (/wiki/Textile_arts_of_indigenous_peoples_of_the_Americas) Andean (/wiki/Andean_textiles) Mapuche (/wiki/Mapuche_textiles) Maya (/wiki/Maya_textiles) Mexican (/wiki/Textiles_of_Mexico) Navajo (/wiki/Navajo_weaving) Oaxacan (/wiki/Textiles_of_Oaxaca) Korean (/wiki/Korean_fabric_arts) Māori (/wiki/M%C4%81ori_traditional_textiles) Related Blocking (/wiki/Blocking_(textile_arts)) Fiber art (/wiki/Fiber_art) Mathematics and fiber arts (/wiki/Mathematics_and_fiber_arts) Manufacturing (/wiki/Textile_manufacturing) Preservation (/wiki/Conservation_and_restoration_of_textiles) Recycling Textile industry (/wiki/Textile_industry) Textile museums (/wiki/Category:Textile_museums) Units of measurement (/wiki/Units_of_textile_measurement) Wearable fiber art (/wiki/Wearable_art#Wearable_fiber_art) Glossaries Dyeing terms (/wiki/Glossary_of_dyeing_terms) Sewing terms (/wiki/Glossary_of_sewing_terms) Textile manufacturing terms (/wiki/Glossary_of_textile_manufacturing) Clothing portal (/wiki/Portal:Clothing) NewPP limit report Parsed by mw‐web.codfw.main‐5c57c99494‐bqvj5 Cached time: 20240716035916 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.527 seconds Real time usage: 0.720 seconds Preprocessor visited node count: 2081/1000000 Post‐expand include size: 90885/2097152 bytes Template argument size: 1078/2097152 bytes Highest expansion depth: 8/100 Expensive parser function count: 5/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 124915/5000000 bytes Lua time usage: 0.316/10.000 seconds Lua memory usage: 5879017/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 522.775 1 -total 44.30% 231.604 1 Template:Reflist 21.73% 113.594 1 Template:Clothing_and_the_environment 17.73% 92.684 2 Template:Citation 13.53% 70.724 1 Template:Short_description 10.47% 54.744 8 Template:Cite_journal 8.77% 45.838 2 Template:Navbox 7.75% 40.503 1 Template:Recycling 7.40% 38.690 2 Template:Pagetype 4.48% 23.433 7 Template:Cite_web Saved in parser cache with key enwiki:pcache:idhash:10193761-0!canonical and timestamp 20240716035916 and revision id 1227363294. 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Ice hockey uniform worn in NHL Montreal Canadiens hockey uniform of Sheldon Souray, on display at the Canadian Museum of History Players in the National Hockey League (/wiki/National_Hockey_League) wear equipment which allows their team affiliation to be easily identified, unifying the image of the team. An NHL uniform consists of a hockey jersey (/wiki/Hockey_jersey) , hockey pants (/wiki/Hockey_pants) , socks (/wiki/Hockey_sock) , gloves (/wiki/Glove_(ice_hockey)) , and a helmet (/wiki/Hockey_helmet#Helmets_in_the_National_Hockey_League) . Background [ edit ] Montreal Canadiens home and road uniforms Historically, the only standardized piece of the equipment has been the sweater (jersey), which has to be of identical design by the same company for all members of a team. Other elements merely have a number scheme, allowing individual players to select their own brand and model coloured to match the uniform but not necessarily identical in appearance. Sticks (/wiki/Ice_hockey_stick) and other equipment worn under the clothes have no requirements in terms of matching a team's colours; teams will sometimes provide players with team-brand undershirts (/wiki/Undershirts) or other under-clothing, but players are not required or limited to wearing them. Goaltenders (/wiki/Goaltender) often have their pads and gloves and masks coloured to match the team's colour scheme, but there is no requirement for this equipment to match, and goaltenders who transfer to a new team often play in their old equipment until new colours can be obtained. Alternatively, players who transfer teams have sometimes had their gloves painted temporarily to match the required colours, and are given new helmets. Each team is required to have two sweater designs: One with a white base (or historically, a yellow colour), and one with a darker-coloured base. Between the 1970–71 (/wiki/1970%E2%80%9371_NHL_season) and 2002–03 (/wiki/2002%E2%80%9303_NHL_season) seasons, NHL teams wore white (or yellow) uniforms at home and dark uniforms on the road (which is the current convention in some low-level ice hockey leagues). Since the 2003–04 season (/wiki/2003%E2%80%9304_NHL_season) , NHL teams typically wear the dark colour at home and the white for road games; there are occasional single-game exceptions. [1] (#cite_note-1) [2] (#cite_note-2) [3] (#cite_note-3) The only elements allowed by NHL rules to be interchangeable between the two sets of equipment are the pants and gloves. Third Sweater Program [ edit ] Starting in 1995 (excluding a few prior isolated instances), some teams began to design a third sweater (/wiki/Third_sweater#National_Hockey_League) , or alternate sweater, which allowed them to experiment with new designs or throwback to a vintage design. Though they are termed third sweaters, they can actually entail an entirely separate look from the primary equipment, often including alternate socks, and sometimes alternate helmets and other equipment. [4] (#cite_note-4) Some third sweaters have eventually become the bases for new primary sweater designs. Third sweaters are typically worn only a few times a season by special permission of the league, based on a list of requested games. They can also be worn during selected playoff games. The third sweater program, as the NHL came to call it, was temporarily suspended on two occasions: for the 2007–08 season (/wiki/2007%E2%80%9308_NHL_season) (due to logistical problems with the introduction of the Reebok Edge sweater that was unveiled at the 2007 NHL All-Star Game (/wiki/2007_NHL_All-Star_Game) ) and for the 2017–18 season (/wiki/2017%E2%80%9318_NHL_season) (due to the introduction of the Adidas sweater). A team's desire to wear their third sweater sometimes requires the opposing team to wear their home or road sweater when the opposite would be normally worn, due to the colour of the third sweater. This can occur when a road team wishes to wear a coloured third sweater, or a home team wishes to wear a white third sweater, as there must be one team each wearing white and coloured uniforms in a game. This can require a team to carry two sets of uniforms and equipment on the road, whether they are using their third sweaters, or are playing against a team who is. For the 2019–20 season (/wiki/2019%E2%80%9320_NHL_season) , the Buffalo Sabres (/wiki/Buffalo_Sabres) wore a white commemorative jersey for 13 home games featuring gold trim to celebrate 50 years of NHL hockey in Buffalo. [5] (#cite_note-5) In the 2018–19 season (/wiki/2018%E2%80%9319_NHL_season) , the New Jersey Devils (/wiki/New_Jersey_Devils) (sweater modeled after the home sweater the team wore from 1982 to 1992) were the only team to wear a white third sweater. The Washington Capitals (/wiki/Washington_Capitals) ( 2011 NHL Winter Classic (/wiki/2011_NHL_Winter_Classic) sweater modeled after the sweater the team wore from 1974 to 1995) were the only NHL team to have a white third sweater from the 2011–12 season (/wiki/2011%E2%80%9312_NHL_season) to the 2014–15 season (/wiki/2014%E2%80%9315_NHL_season) , when they were replaced by red sweaters of the same design. The Philadelphia Flyers (/wiki/Philadelphia_Flyers) used a special white third sweater for their 50th anniversary in the 2016–17 season (/wiki/2016%E2%80%9317_NHL_season) . Sweaters [ edit ] Montreal Canadiens sweater (jersey) worn by Maurice Richard during his final NHL season in 1959–60 (/wiki/1959%E2%80%9360_NHL_season) on display at LiveCity Downtown As hockey originates as an outdoor winter sport where players wore sweaters, this terminology has been retained to describe what is probably the most recognized element of a team's equipment (which is the only element, which is mass marketed to the public). Most NHL sweaters (jerseys) display the team's primary logo (/wiki/Logo) in the center of the chest, while some also display secondary logos on the shoulders. Each player in a team's lineup for a game must have a different number (/wiki/Squad_number#Ice_hockey) displayed on the back of their sweater, as well as the player's surname above their number on the back of their sweater. While not required, teams typically place their numbers on each upper arm as well. Team captains (/wiki/Captain_(hockey)) and alternate captains wear the letters "C" and "A" respectively on the front of their sweaters. Sweaters have a loop of fabric sewn into the inside back, called a "fight strap" or "tie-down", which must be secured to the player's pants during a game, to prevent the sweater from being pulled over the player's head in a fight. In recent years NHL teams generally give players 3-4 sets of white and dark jerseys annually, with special sets being introduced for alternate/heritage designs or special games. In recent years, teams have sold both "pro" model sweaters, ostensibly identical to those worn by players, and "replica" quality sweaters which are cheaper versions that typically use cheaper production methods and lower-quality materials. Replica versions typically lack the fight strap, and in recent years have been created by Fanatics (/wiki/Fanatics,_Inc.) . [6] (#cite_note-6) History [ edit ] Prior to 2000, different NHL teams had contracts with different manufacturers for their sweaters. Manufacturers included CCM (/wiki/CCM_(The_Hockey_Company)) , Koho (/wiki/Koho_(company)) , Nike (/wiki/Nike,_Inc.) , Starter (/wiki/Starter_(clothing_line)) , and Pro Player (/wiki/Fruit_of_the_Loom) . 2000–2007 [ edit ] From the 2000–01 season (/wiki/2000%E2%80%9301_NHL_season) , up to the 2005–06 season (/wiki/2005%E2%80%9306_NHL_season) , all team sweaters were made by The Hockey Company in an NHL-wide deal, and were branded with subsidiary brands. The Koho (/wiki/Koho_(company)) brand was on dark sweaters and third sweaters, while the CCM (/wiki/CCM_(The_Hockey_Company)) brand was on the white sweaters. The Hockey Company began the practice of putting the manufacturer's logo on the back of the sweater, below the neck, rather than on the back of the waist hem, as had previously been the practice. Jofa (/wiki/Jofa) , another subsidiary, made the sweaters for referees and linesmen until the 2005–06 season, when they were re-branded CCM which they remain as of 2008–09. Following Reebok (/wiki/Reebok) 's purchase of The Hockey Company, all official NHL team sweaters were switched to the Reebok (Rbk Hockey) brand, while cheaper replica sweaters sold to fans retained the CCM branding. Reebok logos were on the side boards in all NHL arenas (for marketing purposes) just above the blue and red lines. Reebok Edge (2007–2017) [ edit ] The Rbk Edge , or simply Edge , was a newer line of sweaters designed by Reebok (/wiki/Reebok) . They were announced by Reebok after nearly three years of development. [7] (#cite_note-7) The new sweaters were tighter-fitting, were less water-absorbent, and were more flexible than earlier sweaters. [8] (#cite_note-8) It was intended to make players more maneuverable on the ice. The Edge sweaters were unveiled at the 55th National Hockey League All-Star Game (/wiki/55th_National_Hockey_League_All-Star_Game) and began to be worn, league-wide, from the 2007–08 season (/wiki/2007%E2%80%9308_NHL_season) . Almost every team in the league made at least minor changes to their equipment design in conjunction with implementing the new sweater style. The San Jose Sharks (/wiki/San_Jose_Sharks) , Tampa Bay Lightning (/wiki/Tampa_Bay_Lightning) , Ottawa Senators (/wiki/Ottawa_Senators) , Vancouver Canucks (/wiki/Vancouver_Canucks) , Dallas Stars (/wiki/Dallas_Stars) , and Washington Capitals (/wiki/Washington_Capitals) redesigned their equipment altogether with a new or updated logo. The Columbus Blue Jackets (/wiki/Columbus_Blue_Jackets) and Minnesota Wild (/wiki/Minnesota_Wild) used their alternate sweater (/wiki/Third_sweater) from the previous three seasons as the basis for their new look, complete with the team adopting the alternate logo from their alternates as their primary logo. Five of the Original Six (/wiki/Original_Six) teams (excluding the Boston Bruins (/wiki/Boston_Bruins) ) as well as the New Jersey Devils (/wiki/New_Jersey_Devils) kept their previous styles intact when possible, with the Devils going as far as to issue a press release (/wiki/Press_release) saying that the team had no plans for an event unveiling the Rbk Edge design, because there was nothing new to see. [9] (#cite_note-9) The Anaheim Ducks (/wiki/Anaheim_Ducks) and Buffalo Sabres (/wiki/Buffalo_Sabres) , who both had just redesigned their sweaters the year before the implementation of the Edge sweaters, also left theirs mostly unchanged. But the Sabres made the logo on the front of their sweater smaller and took away the silver outline on their white away sweater, and the Ducks added orange piping to their sweater's neckline. Along with the traditional differences between the replica and authentic versions of NHL sweaters, the replica (billed as "premier") versions of the Edge sweater sold to the public have a "jock tag" on the left side of the front near the waist with the Reebok vector, NHL logo, and sweater size. Citing player complaints, Reebok later modified the Edge sweaters during the 2007–08 season, removing the play-dry material in the front and making the sleeves bigger. The modified sweaters, dubbed the Edge 2.0 , made their debut at the 2008 NHL Winter Classic (/wiki/2008_NHL_Winter_Classic) on January 1, 2008. On that occasion, the participating Buffalo Sabres and Pittsburgh Penguins both used throwback designs for the jerseys. [10] (#cite_note-10) Other teams followed suit, with some players wearing the original Edge design for a few years afterward. Adidas ADIZERO (2017–2024) [ edit ] In September 2015, the NHL and Adidas (/wiki/Adidas) announced plans for Adidas to begin manufacturing official NHL jerseys starting in the 2017–18 season (/wiki/2017%E2%80%9318_NHL_season) . All jerseys are owned by the NHL. On June 20, 2017, the NHL unveiled new ADIZERO sweaters for each of the 31 teams, including the first uniform for the league's newest team, the Vegas Golden Knights (/wiki/Vegas_Golden_Knights) . The new sweaters are advertised as being lighter, cooler, and stronger than previous jerseys. [11] (#cite_note-11) Due to the change, there were no third "alternate" jerseys for any NHL teams for the 2017–18 season. When the third jersey program resumed the next season, teams were given the option of wearing either one-off "Heritage" uniforms (normally throwback designs of past sweaters), full-time third jerseys, or either a combination (as is the case for the "Heritage" third jerseys worn by the Arizona Coyotes (/wiki/Arizona_Coyotes) , Calgary Flames (/wiki/Calgary_Flames) , St. Louis Blues (/wiki/St._Louis_Blues) and Winnipeg Jets (/wiki/Winnipeg_Jets) ) or both sets. Beginning in the 2020–21 season (/wiki/2020%E2%80%9321_NHL_season) , the NHL began partnering with Adidas to introduce the Reverse Retro program, where all 31 teams developed special uniforms combining traditional or throwback designs with new colour schemes. The introduction of the Reverse Retro jerseys (which were planned to be worn in specific rivalry matchups, a plan hindered by the realignment of divisions due to Covid-19) marks the first time in history that all 31 teams have at least three jerseys. [12] (#cite_note-12) For the 2022–23 season (/wiki/2022%E2%80%9323_NHL_season) Reverse Retro designs made a return, including the newly added Seattle Kraken (/wiki/Seattle_Kraken) . [13] (#cite_note-13) In the 2021–22 season (/wiki/2021%E2%80%9322_NHL_season) , Adidas introduced the Primegreen jerseys. The new line is intended to be more environmentally-friendly, being manufactured with a minimum of 50 percent of recycled materials. These jerseys will be used in-game and sold commercially. [14] (#cite_note-14) As of 2020, the NHL was the only one of the four major professional American sports leagues (/wiki/Major_professional_sports_leagues_in_the_United_States_and_Canada) whose uniforms are not outfitted by Nike (/wiki/Nike,_Inc.) . It was reported on July 28, 2022, by ESPN (/wiki/NHL_on_ESPN) 's Greg Wyshynski (/wiki/Greg_Wyshynski) that the Adidas would no longer supply jerseys for the NHL after the conclusion of the 2023–24 season (/wiki/2023%E2%80%9324_NHL_season) . [15] (#cite_note-15) Fanatics (2024–beyond) [ edit ] On March 21, 2023, the NHL introduced Fanatics (/wiki/Fanatics,_Inc.) as the new supplier of sweaters starting in the 2024–25 season, after agreeing to a 10-year deal with the NHL. [16] (#cite_note-16) Other equipment [ edit ] This section does not cite (/wiki/Wikipedia:Citing_sources) any sources (/wiki/Wikipedia:Verifiability) . Please help improve this section (/wiki/Special:EditPage/NHL_uniform) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed (/wiki/Wikipedia:Verifiability#Burden_of_evidence) . ( April 2013 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) A team's gear also includes colour requirements for other equipment, while not requiring players to use a specific brand or model, so they may select equipment to their preferences. This includes a player's gloves, pants, and helmet. Socks are also part of the design, historically with some pattern of horizontal stripes. CCM, Bauer, Warrior and True have been a frequent supplier of player equipment and skates. There is a sock and pant design by CCM with similar technological improvements and design intentions. See also [ edit ] Sports portal (/wiki/Portal:Sports) Fashion portal (/wiki/Portal:Fashion) Ice hockey equipment (/wiki/Ice_hockey_equipment) Hockey jersey (/wiki/Hockey_jersey) Sportswear (activewear) (/wiki/Sportswear_(activewear)) References [ edit ] ^ (#cite_ref-1) When third sweaters are worn, there are occasions when a team requests to wear their third sweater, whose colour requires that game to use opposite home/away colours. ^ (#cite_ref-2) Phoenix Coyotes 2007–08 "Reverse Jersey Nights" (http://coyotes.nhl.com/team/app?articleid=337397&page=NewsPage&service=page) Archived (https://web.archive.org/web/20080315113028/http://coyotes.nhl.com/team/app?articleid=337397&page=NewsPage&service=page) March 15, 2008, at the Wayback Machine (/wiki/Wayback_Machine) ^ (#cite_ref-3) Los Angeles Kings Uniform History (http://kings.nhl.com/team/app/?service=page&page=NHLPage&id=31734) Archived (https://web.archive.org/web/20090512200754/http://kings.nhl.com/team/app/?service=page&page=NHLPage&id=31734) 2009-05-12 at the Wayback Machine (/wiki/Wayback_Machine) ^ (#cite_ref-4) For example, the early 2000s New York Rangers (/wiki/New_York_Rangers) Liberty-head third sweater was a different blue than the team's road sweater, requiring alternate socks, helmets and other colour-matched equipment. ^ (#cite_ref-5) "50th Season Commemorative Jersey" (https://www.nhl.com/sabres/fans/50th-season-commemorative-jersey) . ^ (#cite_ref-6) "NHL signs 16-year deal with Fanatics for replica jerseys, champion apparel" (https://www.espn.com/nhl/story/_/id/17890933/nhl-signs-16-year-deal-fanatics-replica-jerseys-stanley-cup-champion-apparel) . ESPN . August 26, 2016. ^ (#cite_ref-7) Coffey, Phil (January 22, 2007). "Players will have the EDGE in 2006–07" (http://corporate.reebok.com/en/news/press_releases/rbk_edge_uniform.asp?mode=print&) . NHL.com . Retrieved January 22, 2007 . ^ (#cite_ref-8) "Reebok And NHL To Unveil New Technologically-advanced Uniform System" (http://en.rbkhockey.com/news/read.php?pr_id=254) (Press release). Reebok Hockey. January 22, 2007 . Retrieved January 22, 2007 . [ dead link ] ^ (#cite_ref-9) [1] (http://nhluniforms.com/TwoThousands.html) Archived (https://web.archive.org/web/20090228155500/http://nhluniforms.com/TwoThousands.html) February 28, 2009, at the Wayback Machine (/wiki/Wayback_Machine) ^ (#cite_ref-10) Pollina, Erin (December 21, 2007). "Gearing Up For The NHL Winter Classic" (https://web.archive.org/web/20110807193410/http://sabres.nhl.com/club/news.htm?bcid=347420) . Sabres.com. Archived from the original (http://sabres.nhl.com/club/news.htm?bcid=347420) on August 7, 2011 . Retrieved December 31, 2009 . ^ (#cite_ref-11) Public Relations, NHL (June 20, 2017). "NHL, adidas unveil uniforms" (https://www.nhl.com/news/nhl-jerseys-by-adidas-unveiled-for-2017-18-season/c-290020400) . NHL Public Relations . Retrieved June 20, 2017 . ^ (#cite_ref-12) Leahy, Sean (November 16, 2020). "NHL, adidas go 'Reverse Retro' with latest jersey designs" (https://nhl.nbcsports.com/2020/11/16/nhl-adidas-go-reverse-retro-with-latest-jersey-designs/) . NBC Sports (/wiki/NBC_Sports) . Retrieved November 16, 2020 . ^ (#cite_ref-13) Merola, Lauren (October 20, 2022). "NHL Reverse Retro jerseys for all 32 teams unveiled by adidas" (https://www.nhl.com/news/2022-adidas-nhl-reverse-retro-jerseys-reveal/c-336511528) . NHL . Retrieved February 7, 2023 . ^ (#cite_ref-14) "NHL teams to wear new adidas jerseys starting opening night on Oct. 12" (https://www.nhl.com/news/nhl-teams-to-wear-new-sustainable-adidas-jerseys-starting-opening-night/c-326376620) . nhl.com. September 27, 2021 . Retrieved November 2, 2021 . ^ (#cite_ref-15) Wyshynski, Greg (July 28, 2022). "Adidas won't seek to renew NHL uniform and apparel deal after 2023-24 season, league says" (https://web.archive.org/web/20220925104009/https://www.espn.com/nhl/story/_/id/34307876/adidas-seek-renew-nhl-uniform-apparel-deal-2023-24-season-league-says) . ESPN.com . Archived from the original (https://www.espn.com/nhl/story/_/id/34307876/adidas-seek-renew-nhl-uniform-apparel-deal-2023-24-season-league-says) on September 25, 2022 . Retrieved October 21, 2023 . ^ (#cite_ref-16) Cotsonika, Nicholas J. (October 21, 2023). "Fanatics to become NHL official on-ice uniform outfitter in 2024-25" (https://web.archive.org/web/20231021154515/https://www.nhl.com/news/fanatics-to-become-nhl-official-on-ice-uniform-outfitter-in-2024-25-342481582) . NHL.com . Archived from the original (https://www.nhl.com/news/fanatics-to-become-nhl-official-on-ice-uniform-outfitter-in-2024-25-342481582) on October 21, 2023 . Retrieved October 21, 2023 . External links [ edit ] Wikimedia Commons has media related to National Hockey League jerseys (https://commons.wikimedia.org/wiki/Category:National_Hockey_League_jerseys) . 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A soft cap worn while sleeping Not to be confused with Nightcap (drink) (/wiki/Nightcap_(drink)) . Portrait of Henry Shaw (/wiki/Henry_Shaw_(philanthropist)) wearing a nightcap. A nightcap is a cloth cap (/wiki/Cap) worn with other nightwear (/wiki/Nightwear) such as pajamas (/wiki/Pajamas) , a onesie (/wiki/Onesie_(jumpsuit)) , a nightshirt (/wiki/Nightshirt) , or a nightgown (/wiki/Nightgown) ; historically worn in the cold climates of Northern Europe (/wiki/Northern_Europe) . Nightcaps are somewhat similar to knit caps (/wiki/Knit_cap) worn for warmth outdoors. Design [ edit ] Women's night caps were usually a long piece of cloth wrapped around the head, or a triangular cloth tied under the chin. [1] (#cite_note-:0-1) Men's nightcaps were traditionally pointed hats (/wiki/Pointed_hat) with a long top, sometimes with a pom-pom (/wiki/Pom-pom) on the end. [1] (#cite_note-:0-1) The long end could be used like a scarf (/wiki/Scarf) to keep the back of the neck warm. [1] (#cite_note-:0-1) History [ edit ] From the Middle Ages (/wiki/Middle_Ages) to the 20th century, nightcaps were worn in Northern Europe, such as the British Isles (/wiki/British_Isles) and Scandinavia (/wiki/Scandinavia) , especially during the cold winters before central heating (/wiki/Central_heating) became available. [1] (#cite_note-:0-1) People tended to think that cold air was harmful, so a nightcap protected them. [2] (#cite_note-2) In the Tyburn (/wiki/Tyburn_Tree) and Newgate (/wiki/Newgate_Prison) days of British judicial hanging (/wiki/Hanging) history, the hood used to cover the prisoner's face was a nightcap supplied by the prisoner, if he could afford it. [3] (#cite_note-3) Nightcaps were worn by many women in the Victorian era (/wiki/Victorian_era) , but were seen as old-fashioned by the Edwardian era (/wiki/Edwardian_era) . [4] (#cite_note-:1-4) Some women still wore nightcaps, similar to mobcaps (/wiki/Mobcap) , to protect their elaborate curly hairstyles that were fashionable. [4] (#cite_note-:1-4) Edwardian men wore nightcaps as well. [5] (#cite_note-:2-5) In the 1920s and 1930s, the boudoir cap (/wiki/Boudoir_cap) became popular among some European women. Fiction [ edit ] Ebenezer Scrooge (/wiki/Ebenezer_Scrooge) from Charles Dickens (/wiki/Charles_Dickens) 's A Christmas Carol (/wiki/A_Christmas_Carol) wearing his nightshirt and nightcap. Illustration by John Leech (/wiki/John_Leech_(caricaturist)) . Nightcaps are less commonly worn in modern times, but are often featured in animation and other media, as part of a character's nightwear (/wiki/Nightwear) . Nightcaps became associated with the fictional sleepers Ebenezer Scrooge (/wiki/Ebenezer_Scrooge) and Wee Willie Winkie (/wiki/Wee_Willie_Winkie) . [5] (#cite_note-:2-5) The hat has become typical nightwear for a sleeper especially in comical drawings or cartoons along with children's stories, plays, and films; for example, in several Lupin III (/wiki/Lupin_III) animations Daisuke Jigen (/wiki/Daisuke_Jigen) has worn one as a continuation of the "hat covering eyes" gag, and in The Science of Discworld (/wiki/The_Science_of_Discworld) Rincewind has one with the word "Wizzard" stitched onto it. Related caps [ edit ] People with curly and Afro-textured (/wiki/Afro-textured_hair) hair often wear a form of night cap to protect their hair while sleeping, typically a silk or satin wrap or bonnet (/wiki/Bonnet_(headgear)) . [6] (#cite_note-6) [7] (#cite_note-7) See also [ edit ] Fashion portal (/wiki/Portal:Fashion) Smoking cap (/wiki/Smoking_cap) List of headgear (/wiki/List_of_headgear) References [ edit ] ^ Jump up to: a b c d Chico, Beverly (2013-10-03). Hats and Headwear around the World: A Cultural Encyclopedia: A Cultural Encyclopedia . ABC-CLIO. p. 351. ISBN (/wiki/ISBN_(identifier)) 978-1-61069-063-8 . Archived (https://web.archive.org/web/20230221171138/https://books.google.com/books?id=GdbYAQAAQBAJ&dq=nightcap+europe+sleep&pg=PA351) from the original on 2023-02-21 . Retrieved 2023-01-30 . ^ (#cite_ref-2) Nieto, F. Javier; Petersen, Donna (2021-11-11). Foundations of Sleep Health . Academic Press. p. 19. ISBN (/wiki/ISBN_(identifier)) 978-0-12-815502-8 . Archived (https://web.archive.org/web/20230221171134/https://books.google.com/books?id=Q2e8DwAAQBAJ&dq=nightcap+europe+sleep&pg=PA16) from the original on 2023-02-21 . Retrieved 2023-01-30 . ^ (#cite_ref-3) Clark, Richard. "The history of judicial hanging in Britain 1735 - 1964" (https://www.capitalpunishmentuk.org/hanging1.html) . Capital Punishment U.K. Archived (https://web.archive.org/web/20120212120928/http://www.capitalpunishmentuk.org/hanging1.html) from the original on 2012-02-12 . Retrieved 2012-02-20 . ^ Jump up to: a b Lina (2019-06-07). "History Of The Nightcap - Victorian And Edwardian Hair Care" (https://www.sewhistorically.com/history-of-the-nightcap-victorian-and-edwardian-hair-care/) . Sew Historically . Archived (https://web.archive.org/web/20221205190130/https://www.sewhistorically.com/history-of-the-nightcap-victorian-and-edwardian-hair-care/) from the original on 2022-12-05 . Retrieved 2022-12-26 . ^ Jump up to: a b Adlington, Lucy (2015-10-08). Stitches in Time: The Story of the Clothes We Wear . Random House. ISBN (/wiki/ISBN_(identifier)) 978-1-4735-0509-4 . Archived (https://web.archive.org/web/20230221171135/https://books.google.com/books?id=nJSmCQAAQBAJ&dq=nightcap+europe+sleep&pg=PT353) from the original on 2023-02-21 . Retrieved 2023-01-30 . ^ (#cite_ref-6) Maddix, Vanese (2022-03-14). "The best silk hair wraps for sleeping in to protect your curly or Afro hair (from someone who wears one every night)" (https://www.glamourmagazine.co.uk/gallery/silk-hair-wraps) . Glamour UK . Archived (https://web.archive.org/web/20221226090701/https://www.glamourmagazine.co.uk/gallery/silk-hair-wraps) from the original on 2022-12-26 . Retrieved 2022-12-26 . ^ (#cite_ref-7) Dawson, Lamar (2018-04-12). "5 Essential Rules for Growing Out an Afro" (https://www.gq.com/story/how-to-grow-out-an-afro) . GQ . Archived (https://web.archive.org/web/20221226090703/https://www.gq.com/story/how-to-grow-out-an-afro) from the original on 2022-12-26 . Retrieved 2022-12-26 . Look up nightcap (https://en.wiktionary.org/wiki/nightcap) in Wiktionary, the free dictionary. Wikimedia Commons has media related to Nightcaps (headgear) (https://commons.wikimedia.org/wiki/Category:Nightcaps_(headgear)) . v t e Historical clothing (/wiki/History_of_clothing_and_textiles) Clothing generally not worn today, except in historical settings Body-length (/wiki/Suit) Abolla (/wiki/Abolla) Banyan (/wiki/Banyan_(clothing)) Brunswick (/wiki/Brunswick_(clothing)) Court dress (Empire of Japan) (/wiki/Court_uniform_and_dress_in_the_Empire_of_Japan) Chiton (/wiki/Chiton_(costume)) Frock (/wiki/Frock) Frock coat (/wiki/Frock_coat) Hanfu (/wiki/Hanfu) Justacorps (/wiki/Justacorps) Paenula (/wiki/Paenula) Peplos (/wiki/Peplos) Stola (/wiki/Stola) Toga (/wiki/Toga) Tunic (/wiki/Tunic) Xout lao (/wiki/Xout_lao) Tops (/wiki/Top_(clothing)) Basque (/wiki/Basque_(clothing)) Bedgown (/wiki/Bedgown) Bodice (/wiki/Bodice) Doublet (/wiki/Doublet_(clothing)) Peascod belly (/wiki/Peascod_belly) Poet shirt (/wiki/Poet_shirt) Sbai (/wiki/Sbai) Suea pat (/wiki/Suea_pat) Trousers (/wiki/Trousers) Braccae (/wiki/Braccae) Breeches (/wiki/Breeches) Sompot Chong Kben (/wiki/Sompot_Chong_Kben) Culottes (/wiki/Culottes) Harem (/wiki/Harem_pants) Knickerbockers (/wiki/Knickerbockers_(clothing)) Pedal pushers (/wiki/Pedal_pushers) Saragüells (/w/index.php?title=Sarag%C3%BCells&action=edit&redlink=1) [ ca (https://ca.wikipedia.org/wiki/Sarag%C3%BCells) ] Skirts (/wiki/Skirt) Hobble (/wiki/Hobble_skirt) Poodle (/wiki/Poodle_skirt) Safeguard (/wiki/Safeguard_(costume)) Sompot (/wiki/Sompot) Sinh (/wiki/Sinh_(clothing)) Train (/wiki/Train_(clothing)) Dresses (/wiki/Dress) Bliaut (/wiki/Bliaut) Close-bodied gown (/wiki/Close-bodied_gown) Debutante (/wiki/Debutante_dress) Gown (/wiki/Gown) Kirtle (/wiki/Kirtle) Mantua (/wiki/Mantua_(clothing)) Polonaise (/wiki/Polonaise_(clothing)) Robe de cour (/wiki/Robe_de_cour) Sack-back gown (/wiki/Sack-back_gown) Sailor (/wiki/Sailor_dress) Tea gown (/wiki/Tea_gown) Zaju chuishao fu (/wiki/Zaju_chuishao_fu) Outerwear (/wiki/List_of_outerwear) Capote (/wiki/Capote_(garment)) Car coat (/wiki/Car_coat) Caraco (/wiki/Caraco) Cardinal cloak (/wiki/Cardinal_cloak) Chamail (/wiki/Chamail_(clothing)) Chlamys (/wiki/Chlamys) Cloak (/wiki/Cloak) Kinsale cloak (/wiki/Kinsale_cloak) Dolman (/wiki/Dolman) Doublet (/wiki/Doublet_(clothing)) Duster (/wiki/Duster_(clothing)) Exomis (/wiki/Exomis) Greatcoat (/wiki/Greatcoat) Himation (/wiki/Himation) Houppelande (/wiki/Houppelande) Inverness cape (/wiki/Inverness_cape) Jerkin (/wiki/Jerkin) Kandys (/wiki/Kandys) Mackinaw jacket (/wiki/Mackinaw_jacket) Nadiri (/wiki/Nadiri) Norfolk jacket (/wiki/Norfolk_jacket) Overfrock (/wiki/Over-frock_coat) Pañuelo (/wiki/Pa%C3%B1uelo) Palla (/wiki/Palla_(garment)) Pallium (/wiki/Pallium_(Roman_cloak)) Pelisse (/wiki/Pelisse) Poncho (/wiki/Poncho) Shadbelly (/wiki/Shadbelly) Shawl (/wiki/Shawl) Galway shawl (/wiki/Galway_shawl) Kullu (/wiki/Kullu_shawl) Smock-frock (/wiki/Smock-frock) Spencer (/wiki/Spencer_(clothing)) Surcoat 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Aviator (/wiki/Aviator_hat) Ba tầm (/wiki/Ba_t%E1%BA%A7m) Bergère (/wiki/Berg%C3%A8re_hat) Blessed hat (/wiki/Blessed_sword_and_hat) Bonnet (/wiki/Bonnet_(headgear)) Capotain (/wiki/Capotain) Caubeen (/wiki/Caubeen) Cavalier (/wiki/Cavalier_hat) Coif (/wiki/Coif) Coonskin (/wiki/Coonskin_cap) Cornette (/wiki/Cornette) Dunce (/wiki/Dunce_cap) Fillet (/wiki/Fillet_(clothing)) French hood (/wiki/French_hood) Fontange (/wiki/Fontange) Futou (/wiki/Futou) Gable hood (/wiki/Gable_hood) Hennin (/wiki/Hennin) Jeongjagwan (/wiki/Jeongjagwan) Jewish (/wiki/Jewish_hat) Kausia (/wiki/Kausia) Kokoshnik (/wiki/Kokoshnik) Llawt'u (/wiki/Llawt%27u) Malahai (/wiki/Malahai) Matron's badge (/wiki/Matron%27s_badge) Miner's (/wiki/Miner%27s_cap) Mob (/wiki/Mobcap) Modius (/wiki/Modius_(headdress)) Monmouth (/wiki/Monmouth_cap) Mooskappe (/wiki/Mooskappe) Motoring hood (/wiki/Motoring_hood) Mounteere (/wiki/Mounteere_Cap) Nemes (/wiki/Nemes) Nightcap Ochipok (/wiki/Ochipok) Pahlavi (/wiki/Pahlavi_hat) Petasos (/wiki/Petasos) Phrygian (/wiki/Phrygian_cap) Pileus (/wiki/Pileus_(hat)) Printer's (/wiki/Printer%27s_hat) Pudding (/wiki/Baby_bumper_headguard_cap) Qeleshe (/wiki/Qeleshe) Qing (/wiki/Qing_official_headwear) Salakot (/wiki/Salakot) Snood (/wiki/Snood_(headgear)) Smoking (/wiki/Smoking_cap) Tainia (/wiki/Tainia_(costume)) Taranga (/wiki/Taranga_(clothing)) Welsh Wig (/wiki/Welsh_Wig) Wimple (/wiki/Wimple) Footwear (/wiki/Footwear) Buskins (/wiki/Buskin) Calcei (/wiki/Calcei) Caligae (/wiki/Caligae) Carbatina (/wiki/Carbatina) Chinese styles (/wiki/Hanfu_footwear) Chopines (/wiki/Chopine) Duckbills (/wiki/Duckbill_shoe) Episcopal sandals (/wiki/Episcopal_sandals) Hessian (/wiki/Hessian_(boot)) Lotus shoes (/wiki/Lotus_shoes) Manchu platform shoes (/wiki/Manchu_platform_shoes) Pampooties (/wiki/Pampootie) Pattens (/wiki/Patten_(shoe)) Pigaches (/wiki/Pigache) Poulaines (/wiki/Poulaine) Socci (/wiki/Socci) Tiger-head shoes (/wiki/Tiger-head_shoes) Turnshoes (/wiki/Turnshoe) Accessories (/wiki/Fashion_accessory) Ascot tie (/wiki/Ascot_tie) Belt hook (/wiki/Belt_hook) Cointoise (/wiki/Cointoise) Cravat (early) (/wiki/Cravat_(early)) Hairpin (/wiki/Hairpin) Hatpin (/wiki/Hatpin) Jabot (/wiki/Jabot_(neckwear)) Lavallière (/wiki/Pussy_bow) Muff (/wiki/Muff_(handwarmer)) Oes (/wiki/Oes) Partlet (/wiki/Partlet) Perfumed gloves (/wiki/Perfumed_gloves) Ruff (/wiki/Ruff_(clothing)) Shoe buckle (/wiki/Shoe_buckle) Visard (/wiki/Visard) Clothing portal (/wiki/Portal:Clothing) v t e Nightwear (/wiki/Nightwear) Tops Nightshirt (/wiki/Nightshirt) short variety Nightgown (/wiki/Nightgown) Babydoll (/wiki/Babydoll) Sleepshirt Chemise (/wiki/Chemise) Bed jacket (/wiki/Bed_jacket) Bottoms Sweatpants (/wiki/Sweatpants) Gym shorts (/wiki/Gym_shorts) Undergarments (/wiki/Undergarments) Panties (/wiki/Panties) Briefs (/wiki/Briefs) Boxer shorts (/wiki/Boxer_shorts) Boxer briefs (/wiki/Boxer_briefs) Full body Adult onesie (/wiki/Onesie_(jumpsuit)) Disguise pajama Nightshirt (/wiki/Nightshirt) traditional variety Nightgown (/wiki/Nightgown) Pajamas (/wiki/Pajamas) Footed pajamas (/wiki/Blanket_sleeper) Hats Nightcap (garment) Related topics Nightcap (drink) (/wiki/Nightcap_(drink)) Bedtime (/wiki/Bedtime) Sleep (/wiki/Sleep) Sleep hygiene (/wiki/Sleep_hygiene) Sleep induction (/wiki/Sleep_induction) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐xmpms Cached time: 20240721153622 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.380 seconds Real time usage: 0.518 seconds Preprocessor visited node count: 1185/1000000 Post‐expand include size: 52300/2097152 bytes Template argument size: 988/2097152 bytes Highest expansion depth: 13/100 Expensive parser function count: 5/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 49234/5000000 bytes Lua time usage: 0.228/10.000 seconds Lua memory usage: 5224269/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion 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Russian fashion designer (born 1978) For other people named Radchenko, see Radchenko (disambiguation) (/wiki/Radchenko_(disambiguation)) . Ludmilla Radchenko Born Ludmila Vladimirovna Radchenko ( 1978-11-11 ) November 11, 1978 (age 45) Omsk (/wiki/Omsk) , Soviet Union (/wiki/Soviet_Union) Occupation(s) Model, actress, TV presenter Height 1.74 m (5 ft 9 in) Website www (http://www.ludmillapopart.it) .ludmillapopart (http://www.ludmillapopart.it) .it (http://www.ludmillapopart.it) Ludmilla Vladimirovna Radchenko ( Russian (/wiki/Russian_language) : Людмила Владимировна Радченко , born November 11, 1978, in Omsk (/wiki/Omsk) , Soviet Union) is a Russian painter, model, artist and actress. Biography [ edit ] Born in Omsk, Ludmilla graduated in fashion design (/wiki/Fashion_design) in 1999. In 1997 After her arrival in Italy, she began her career with an Italian spot during the television program (/wiki/Television_program) Paperissima . Chosen by Fapim, a windows manufacturer, for their 2008 calendar, she posed in erotic photographs for Luca Cattoretti. As an actress, she starred in the TV movie Il viaggio (2005) and in two episodes of the TV series RIS - Delitti imperfetti , in addition to some small roles in other Italian productions. In 2008 she starred in the film A Light Of Passion . After La Talpa (/wiki/De_Mol_(TV_series)#Italy) , she began painting and had exhibitions in Milan (/wiki/Milan) [1] (#cite_note-1) and decided to devote herself to art. After a long study trip to New York City, a series of collections were displayed in various galleries, art events and exhibitions. In February 2011, the province of Milan supported Radchenko's exhibition at the House of World Cultures. In May 2011 a New York gallery presented her at the Eating Art festival, and her works were exhibited at the Crown Fine Art gallery in Soho (/wiki/Soho) . Television [ edit ] La sai l'ultima? (2001) Passaparola (2001–2002) Spicy Tg (2003) La talpa (/wiki/De_Mol_(TV_series)#Italy) (2005) On the Road (2006) Tuning and Fanatics (2007) Reality Game (2007) Modeland (2008) Filmography [ edit ] Year Title Role Notes 2005 Il viaggio (/w/index.php?title=The_Voyage_(2005_film)&action=edit&redlink=1) 2006 R.I.S. Delitti imperfetti (/w/index.php?title=R.I.S._Delitti_imperfetti&action=edit&redlink=1) 2 episodes 2006 A Light of Passion (/w/index.php?title=A_Light_of_Passion&action=edit&redlink=1) 2008 Scaccomatto (/w/index.php?title=Scaccomatto&action=edit&redlink=1) Short 2009 L'ispettore Coliandro: Sesso e segreti (/w/index.php?title=L%27ispettore_Coliandro:_Sesso_e_segreti&action=edit&redlink=1) Film TV 2009 Un posto al sole d'estate (/w/index.php?title=Un_posto_al_sole_d%27estate&action=edit&redlink=1) Natasha soap opera 2010 Ganja Fiction (/w/index.php?title=Ganja_Fiction&action=edit&redlink=1) Luna Movie Fashion Agencies [ edit ] Urban Management Gwen Management Bibliography [ edit ] Pop Art , Edizioni Skira-Feltrinelli (2010) ISBN (/wiki/ISBN_(identifier)) 9788857208923 (/wiki/Special:BookSources/9788857208923) References [ edit ] ^ (#cite_ref-1) " (https://web.archive.org/web/20111112224147/http://www.bemagazine.tv/2009/05/20/ludmilla-radchenko-intervista-copertina/) Ludmilla Radchenko: l'arte e la bellezza (Ludmilla Radchenko: art and beauty)" (https://web.archive.org/web/20111112224147/http://www.bemagazine.tv/2009/05/20/ludmilla-radchenko-intervista-copertina/) (in Italian). BE! Magazine. 20 May 2009. Archived from the original (http://www.bemagazine.tv/2009/05/20/ludmilla-radchenko-intervista-copertina/) on 12 November 2011. External links [ edit ] Official website (http://www.ludmillapopart.it/) Ludmilla Radchenko (https://www.imdb.com/name/nm1994060/) at IMDb (/wiki/IMDb_(identifier)) Ludmilla Radchenko on Fashion Model Directory (http://www.fashionmodeldirectory.com/models/Ludmilla_Radchenko) Wikimedia Commons has media related to Ludmilla Radchenko (https://commons.wikimedia.org/wiki/Category:Ludmilla_Radchenko) . Russia portal (/wiki/Portal:Russia) Italy portal (/wiki/Portal:Italy) Fashion portal (/wiki/Portal:Fashion) Visual arts portal (/wiki/Portal:Visual_arts) Art portal (/wiki/Portal:Art) Television portal (/wiki/Portal:Television) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐xqmst Cached time: 20240720172512 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.517 seconds Real time usage: 1.053 seconds Preprocessor visited node count: 2605/1000000 Post‐expand include size: 18815/2097152 bytes Template argument size: 3020/2097152 bytes Highest expansion depth: 14/100 Expensive parser function count: 8/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 11379/5000000 bytes Lua time usage: 0.334/10.000 seconds Lua memory usage: 21956380/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 727.914 1 -total 34.24% 249.246 1 Template:Infobox_adult_biography 13.98% 101.794 4 Template:Br_separated_entries 13.07% 95.116 1 Template:Birth_date_and_age 12.59% 91.668 1 Template:Lang-ru 10.10% 73.507 1 Template:Reflist 9.84% 71.615 1 Template:Short_description 8.53% 62.087 1 Template:Cite_news 8.04% 58.492 1 Template:IMDb_name 6.40% 46.554 1 Template:ISBN Saved in parser cache with key enwiki:pcache:idhash:10376725-0!canonical and timestamp 20240720172512 and revision id 1190198954. 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This is a list of existing articles related to fashion (/wiki/Fashion) and clothing (/wiki/Clothing) . For individual designers, see List of fashion designers (/wiki/List_of_fashion_designers) Contents: Top (#top) 0–9 (#0–9) A (#A) B (#B) C (#C) D (#D) E (#E) F (#F) G (#G) H (#H) I (#I) J (#J) K (#K) L (#L) M (#M) N (#N) O (#O) P (#P) Q (#Q) R (#R) S (#S) T (#T) U (#U) V (#V) W (#W) X (#X) Y (#Y) Z (#Z) 0–9 [ edit ] 1100–1200 in European fashion (/wiki/1100%E2%80%931200_in_European_fashion) 1200–1300 in European fashion (/wiki/1200%E2%80%931300_in_European_fashion) 1300–1400 in European fashion (/wiki/1300%E2%80%931400_in_European_fashion) 1400–1500 in European fashion (/wiki/1400%E2%80%931500_in_European_fashion) 1500–50 in Western European fashion (/wiki/1500%E2%80%9350_in_Western_European_fashion) 1550–1600 in Western European fashion (/wiki/1550%E2%80%931600_in_Western_European_fashion) 1600–50 in Western European fashion (/wiki/1600%E2%80%9350_in_Western_European_fashion) 1650–1700 in Western European fashion (/wiki/1650%E2%80%931700_in_Western_European_fashion) 1700–50 in Western fashion (/wiki/1700%E2%80%9350_in_Western_fashion) 1750–75 in Western fashion (/wiki/1750%E2%80%9375_in_Western_fashion) 1775–95 in Western fashion (/wiki/1775%E2%80%9395_in_Western_fashion) 1795–1820 in Western fashion (/wiki/1795%E2%80%931820_in_Western_fashion) 1820s in Western fashion (/wiki/1820s_in_Western_fashion) 1830s in Western fashion (/wiki/1830s_in_Western_fashion) 1840s in Western fashion (/wiki/1840s_in_Western_fashion) 1850s in Western fashion (/wiki/1850s_in_Western_fashion) 1860s in Western fashion (/wiki/1860s_in_Western_fashion) 1870s in Western fashion (/wiki/1870s_in_Western_fashion) 1880s in Western fashion (/wiki/1880s_in_Western_fashion) 1890s in Western fashion (/wiki/1890s_in_Western_fashion) 1900s in fashion (/wiki/1900s_in_fashion) 1910s in Western fashion (/wiki/1910s_in_Western_fashion) 1920s in Western fashion (/wiki/1920s_in_Western_fashion) 1930–45 in fashion (/wiki/1930%E2%80%9345_in_fashion) 1945–60 in fashion (/wiki/1945%E2%80%9360_in_fashion) 1960s in fashion (/wiki/1960s_in_fashion) 1970s in fashion (/wiki/1970s_in_fashion) 1980s in fashion (/wiki/1980s_in_fashion) 1990s in fashion (/wiki/1990s_in_fashion) 2000–09 in fashion (/wiki/2000%E2%80%9309_in_fashion) 2010s in fashion (/wiki/2010s_in_fashion) A [ edit ] A-2 jacket (/wiki/A-2_jacket) A-line (clothing) (/wiki/A-line_(clothing)) Abacá (/wiki/Abac%C3%A1) Abaca slippers (/wiki/Abaca_slippers) Abacost (/wiki/Abacost) Abaniko (/wiki/Abaniko) Abarka (/wiki/Abarka) Abaya (/wiki/Abaya) Abolla (/wiki/Abolla) Aboyne dress (/wiki/Aboyne_dress) Academic dress (/wiki/Academic_dress) Academic scarf (/wiki/Academic_scarf) Academic stole (/wiki/Academic_stole) Achkan (/wiki/Achkan) Acid dye (/wiki/Acid_dye) Acrylic fiber (/wiki/Acrylic_fiber) Adaptive clothing (/wiki/Adaptive_clothing) Adjustable-focus eyeglasses (/wiki/Adjustable-focus_eyeglasses) Adornment (/wiki/Adornment) Afghan (blanket) (/wiki/Afghan_(blanket)) Afghan Coat (/wiki/Afghan_Coat) Afghanka (/wiki/Afghanka) African textiles (/wiki/African_textiles) Afro (/wiki/Afro) Afterwear (/wiki/Afterwear) Agal (accessory) (/wiki/Agal_(accessory)) Aglet (/wiki/Aglet) Aguayo (cloth) (/wiki/Aguayo_(cloth)) Aida cloth (/wiki/Aida_cloth) Aigrette (/wiki/Aigrette) Aiguillette (/wiki/Aiguillette) Aiguillette (ornament) (/wiki/Aiguillette_(ornament)) Aikidogi (/wiki/Aikidogi) Ajrak (/wiki/Ajrak) Alasho (/wiki/Alasho) Alb (/wiki/Alb) Albanian hat (/wiki/Albanian_hat) Alençon lace (/wiki/Alen%C3%A7on_lace) Alice in Wonderland dress (/wiki/Alice_in_Wonderland_dress) All over print (/wiki/All_over_print) Aloha shirt (/wiki/Aloha_shirt) Alpaca fiber (/wiki/Alpaca_fiber) Altdeutsche Tracht (/wiki/Altdeutsche_Tracht) Amauti (/wiki/Amauti) Amice (/wiki/Amice) Ammunition boot (/wiki/Ammunition_boot) Anglo-Saxon dress (/wiki/Anglo-Saxon_dress) Angora wool (/wiki/Angora_wool) Angusticlavia (/wiki/Angusticlavia) Animal print (/wiki/Animal_print) Anklet (sock) (/wiki/Anklet_(sock)) Annie Hall (/wiki/Annie_Hall_look) Anorak (/wiki/Anorak) Anthony Eden hat (/wiki/Anthony_Eden_hat) Antique satin (/wiki/Antique_satin) Antistatic garments (/wiki/Antistatic_garments) Antwerp lace (/wiki/Antwerp_lace) Áo bà ba (/wiki/%C3%81o_b%C3%A0_ba) Ao dai (/wiki/Ao_dai) Áo gấm (/wiki/%C3%81o_g%E1%BA%A5m) Áo tứ thân (/wiki/%C3%81o_t%E1%BB%A9_th%C3%A2n) Apex (headdress) (/wiki/Apex_(headdress)) Apostolnik (/wiki/Apostolnik) Appliqué (/wiki/Appliqu%C3%A9) Appliqué lace (/wiki/Appliqu%C3%A9_lace) Approach shoe (/wiki/Approach_shoe) Apron (/wiki/Apron) Araimudi (/wiki/Araimudi) Aran jumper (/wiki/Aran_jumper) Arch support (/wiki/Arch_support) Archducal hat (/wiki/Archducal_hat) Architectonic jewellery (/wiki/Architectonic_jewellery) Argentan lace (/wiki/Argentan_lace) Argyle (pattern) (/wiki/Argyle_(pattern)) Arkhalig (/wiki/Arkhalig) Arm ring (/wiki/Arm_ring) Arm warmer (/wiki/Arm_warmer) Armenian dress (/wiki/Armenian_dress) Armet (/wiki/Armet) Armscye (/wiki/Armscye) Art jewelry (/wiki/Art_jewelry) Artificial hair integrations (/wiki/Artificial_hair_integrations) Artificial leather (/wiki/Artificial_leather) Ascot cap (/wiki/Ascot_cap) Ascot tie (/wiki/Ascot_tie) Aso Oke fabric (/wiki/Aso_Oke_fabric) Aso Oke hat (/wiki/Aso_Oke_hat) Assam silk (/wiki/Assam_silk) Asymmetric cut (/wiki/Asymmetric_cut) Assyrian clothing (/wiki/Assyrian_clothing) Athleisure (/wiki/Athleisure) Atilla (clothing) (/wiki/Atilla_(clothing)) Attic helmet (/wiki/Attic_helmet) Attifet (/wiki/Attifet) Australian Aboriginal fibrecraft (/wiki/Australian_Aboriginal_fibrecraft) Australian Fashion Week (/wiki/Australian_Fashion_Week) Australian work boot (/wiki/Australian_work_boot) Av Pak (/wiki/Av_Pak) Avarca (shoe) (/wiki/Avarca_(shoe)) Ave Maria lace (/wiki/Ave_Maria_lace) Aventail (/wiki/Aventail) Aviator hat (/wiki/Aviator_hat) Away colours (/wiki/Away_colours) Ayam (cap) (/wiki/Ayam_(cap)) Aztec clothing (/wiki/Aztec_clothing) B [ edit ] Baby sling (/wiki/Baby_sling) Babydoll (/wiki/Babydoll) Back closure (/wiki/Back_closure) Backcombing (/wiki/Backcombing) Backless dress (/wiki/Backless_dress) Backpack (/wiki/Backpack) Baggies (clothing) (/wiki/Baggies_(clothing)) Baggy green (/wiki/Baggy_green) Bahag (garment) (/wiki/Bahag_(garment)) Baja Jacket (/wiki/Baja_Jacket) Baji (clothing) (/wiki/Baji_(clothing)) Baju Kurung (/wiki/Baju_Kurung) Baju Melayu (/wiki/Baju_Melayu) Bakhu (/wiki/Bakhu) Bakya (/wiki/Bakya) Balaclava (clothing) (/wiki/Balaclava_(clothing)) Baldness (/wiki/Baldness) Baldric(k) (/wiki/Baldric) Balgha (/wiki/Balgha) Ball dress (/wiki/Ball_dress) Ball gown (/wiki/Ball_gown) Ballerina neckline (/wiki/Ballerina_neckline) Ballerina skirt (/wiki/Ballerina_skirt) Ballet boot (/wiki/Ballet_boot) Ballet flat (/wiki/Ballet_flat) Ballet shoe (/wiki/Ballet_shoe) Ballet tutu (/wiki/Ballet_tutu) Ballistic vest (/wiki/Ballistic_vest) Balmoral bonnet (/wiki/Balmoral_bonnet) Baluchar Sari (/wiki/Baluchar_Sari) Bamboo (/wiki/Bamboo#Textiles) Banarasi sari (/wiki/Banarasi_sari) Banbi (/wiki/Banbi) Band collar (/wiki/Band_collar) Bandeau (/wiki/Bandeau) Bandhani (/wiki/Bandhani) Bandolier (/wiki/Bandolier) Bands (neckwear) (/wiki/Bands_(neckwear)) Bangle (/wiki/Bangle) Banyan (clothing) (/wiki/Banyan_(clothing)) Baptismal clothing (/wiki/Baptismal_clothing) Bar tack (/wiki/Bar_tack) Barathea (/wiki/Barathea) Barbute (/wiki/Barbute) Baro't saya (/wiki/Baro%27t_saya) Barong tagalog (/wiki/Barong_tagalog) Barretina (/wiki/Barretina) Barrette (/wiki/Barrette) Bascinet (/wiki/Bascinet) Baseball cap (/wiki/Baseball_cap) Baseball glove (/wiki/Baseball_glove) Baseball uniform (/wiki/Baseball_uniform) Bases (fashion) (/wiki/Bases_(fashion)) Bashlyk (/wiki/Bashlyk) Basque (clothing) (/wiki/Basque_(clothing)) Bast fibre (/wiki/Bast_fibre) Bast shoe (/wiki/Bast_shoe) Bathing dress (/wiki/Bathing_dress) Bathrobe (/wiki/Bathrobe) Batik (/wiki/Batik) Batiste (/wiki/Batiste) Batsuit (/wiki/Batsuit) Battenberg lace (/wiki/Battenberg_lace) Batting glove (/wiki/Batting_glove) Batting helmet (/wiki/Batting_helmet) Battle Dress (/wiki/Battle_Dress) Battle jacket (/wiki/Battle_jacket) Battledress (/wiki/Battledress) Bead (/wiki/Bead) Bead crochet (/wiki/Bead_crochet) Beadwork (/wiki/Beadwork) Beanie (North America) (/wiki/Beanie_(North_America)) Bearskin (/wiki/Bearskin) Beatle boot (/wiki/Beatle_boot) Beaver hat (/wiki/Beaver_hat) Beca (garment) (/wiki/Beca_(garment)) Bed jacket (/wiki/Bed_jacket) Bedgown (/wiki/Bedgown) Bedford cord (/wiki/Bedford_cord) Beetlewing (/wiki/Beetlewing) Beetling (/wiki/Beetling) Beizi (/wiki/Beizi) Bekishe (/wiki/Bekishe) Bell sleeve (/wiki/Bell_sleeve) Bell-bottoms (/wiki/Bell-bottoms) Bell-boy hat (/wiki/Bell-boy_hat) Bell-boy jacket (/wiki/Bell-boy_jacket) Belly chain (/wiki/Belly_chain) Belt (clothing) (/wiki/Belt_(clothing)) Belt buckle (/wiki/Belt_buckle) Belt hook (/wiki/Belt_hook) Belted plaid (/wiki/Belted_plaid) Bench shirt (/wiki/Bench_shirt) Beonggeoji (/wiki/Beonggeoji) Beoseon (/wiki/Beoseon) Beret (/wiki/Beret) Bergère hat (/wiki/Berg%C3%A8re_hat) Berlin Iron Jewellery (/wiki/Berlin_Iron_Jewellery) Bermuda shorts (/wiki/Bermuda_shorts) Bernos (/wiki/Bernos) Bespoke (/wiki/Bespoke) Bhaad-gaaule (/wiki/Bhaad-gaaule_topi) Bias (textile) (/wiki/Bias_(textile)) Bib (garment) (/wiki/Bib_(garment)) Biblical clothing (/wiki/Biblical_clothing) Biblical sandals (/wiki/Biblical_sandals) Bicorne (/wiki/Bicorne) Big hair (/wiki/Big_hair) Bikini (/wiki/Bikini) Bikini variants (/wiki/Bikini_variants) Bilum (/wiki/Bilum) Binche lace (/wiki/Binche_lace) Bindi (decoration) (/wiki/Bindi_(decoration)) Bindle (/wiki/Bindle) Binyeo (/wiki/Binyeo) Biretta (/wiki/Biretta) Birkenstock (/wiki/Birkenstock) Birkin bag (/wiki/Birkin_bag) Birrus (/wiki/Birrus) Bishop Andrewes cap (/wiki/Bishop_Andrewes_cap) Bisht (clothing) (/wiki/Bisht_(clothing)) Black beret (/wiki/Black_beret) Black cap (/wiki/Black_cap) Black tie (/wiki/Black_tie) Blackwork (/wiki/Blackwork) Blangkon (/wiki/Blangkon) Blanket sleeper (/wiki/Blanket_sleeper) Blanket stitch (/wiki/Blanket_stitch) Blazer (/wiki/Blazer) Bling-bling (/wiki/Bling-bling) Blonde lace (/wiki/Blonde_lace) Bloomers (clothing) (/wiki/Bloomers_(clothing)) Blouse (/wiki/Blouse) Blouson (/wiki/Blouson) Blucher shoe (/wiki/Blucher_shoe) Bluecoat (/wiki/Bluecoat) Boardshorts (/wiki/Boardshorts) Boar's tusk helmet (/wiki/Boar%27s_tusk_helmet) Boat neck (/wiki/Boat_neck) Boat shoes (/wiki/Boat_shoes) Boater (/wiki/Boater) Bob cut (/wiki/Bob_cut) Bobbin lace (/wiki/Bobbin_lace) Bobble hat (/wiki/Bobble_hat) Bobby pin (/wiki/Bobby_pin) Bobby sock (/wiki/Bobby_sock) Bobby soxer (/wiki/Bobby_soxer_(music)) Bògòlanfini (/wiki/B%C3%B2g%C3%B2lanfini) Bodice (/wiki/Bodice) Body modification (/wiki/Body_modification) Bodystocking (/wiki/Bodystocking) Bodysuit (/wiki/Bodysuit) Boeotian helmet (/wiki/Boeotian_helmet) Bokgeon (/wiki/Bokgeon) Bolo tie (/wiki/Bolo_tie) Bondage pants (/wiki/Bondage_pants) Bondage corset (/wiki/Bondage_corset) Bone (corsetry) (/wiki/Bone_(corsetry)) Bone lace (/wiki/Bone_lace) Bonnet (headgear) (/wiki/Bonnet_(headgear)) Book bag (/wiki/Book_bag) Boonie hat (/wiki/Boonie_hat) Boot (/wiki/Boot) Boot fetishism (/wiki/Boot_fetishism) Boot jack (/wiki/Boot_jack) Boot socks (/wiki/Boot_socks) Bootee (/wiki/Bootee) Boothose (/wiki/Boothose) Boshiya (/wiki/Boshiya) Boss of the Plains (/wiki/Boss_of_the_Plains) Boston Fashion Week (/wiki/Boston_Fashion_Week) Boubou (clothing) (/wiki/Boubou_(clothing)) Bouclé (/wiki/Boucl%C3%A9) Bouffant (/wiki/Bouffant) Bouffant gown (/wiki/Bouffant_gown) Boutonnière (/wiki/Boutonni%C3%A8re) Bow tie (/wiki/Bow_tie) Bowler hat (/wiki/Bowler_hat) Bowling shirt (/wiki/Bowling_shirt) Bowyangs (/wiki/Bowyangs) Boxer briefs (/wiki/Boxer_briefs) Boxer shorts (/wiki/Boxer_shorts) Boxing glove (/wiki/Boxing_glove) Boyar hat (/wiki/Boyar_hat) Boyfriend (fashion) (/wiki/Boyfriend_(fashion)) Braccae (/wiki/Braccae) Bracteate (/wiki/Bracteate) Braid (/wiki/Braid) Braiding machine (/wiki/Braiding_machine) Braies (/wiki/Braies) Brassard (/wiki/Brassard) Bra (/wiki/Bra) Brassiere measurement (/wiki/Brassiere_measurement) Brazilian Jiu-Jitsu gi (/wiki/Brazilian_Jiu-Jitsu_gi) Breathability (/wiki/Breathability) Breechcloth (/wiki/Breechcloth) Breeches (/wiki/Breeches) Breeching (boys) (/wiki/Breeching_(boys)) Breeks (/wiki/Breeks) Brez (clothing) (/wiki/Brez_(clothing)) Briefcase (/wiki/Briefcase) Briefs (/wiki/Briefs) Brigandine (/wiki/Brigandine) Bristle (/wiki/Bristle) British Fashion Awards (/wiki/British_Fashion_Awards) British Fashion Council (/wiki/British_Fashion_Council) British Inspiration Awards (/wiki/British_Inspiration_Awards) Broadcloth (/wiki/Broadcloth) Brocade (/wiki/Brocade) Broderie Anglaise (/wiki/Broderie_Anglaise) Brogan (shoes) (/wiki/Brogan_(shoes)) Brogue shoe (/wiki/Brogue_shoe) Brooch (/wiki/Brooch) Broomstick lace (/wiki/Broomstick_lace) Brothel creeper (/wiki/Brothel_creeper) Browline glasses (/wiki/Browline_glasses) Brunswick (clothing) (/wiki/Brunswick_(clothing)) Brussels lace (/wiki/Brussels_lace) Bucket hat (/wiki/Bucket_hat) Buckle (/wiki/Buckle) Buckram (/wiki/Buckram) Bucks point lace (/wiki/Bucks_point_lace) Buckskin (leather) (/wiki/Buckskin_(leather)) Buckskins (/wiki/Buckskins) Budenovka (/wiki/Budenovka) Buff coat (/wiki/Buff_coat) Buffalo coat (/wiki/Buffalo_coat) Buka cloak (/wiki/Buka_cloak) Bun (hairstyle) (/wiki/Bun_(hairstyle)) Bunad (/wiki/Bunad) Bunny boots (/wiki/Bunny_boots) Bunny slippers (/wiki/Bunny_slippers) Burgonet (/wiki/Burgonet) Burka (Caucasus) (/wiki/Burka_(Caucasus)) Burnout (clothing) (/wiki/Burnout_(clothing)) Burnous (/wiki/Burnous) Burqa (/wiki/Burqa) Burqini (/wiki/Burqini) Busby (/wiki/Busby_(military_headdress)) Business casual (/wiki/Business_casual) Busk (/wiki/Busk_(corsetry)) Buskin (/wiki/Buskin) Bustier (/wiki/Bustier) Bustle (/wiki/Bustle) Bustle (regalia) (/wiki/Bustle_(regalia)) Button (/wiki/Button_(clothing)) Button blanket (/wiki/Button_blanket) Buttonhole (/wiki/Buttonhole) Buyer (fashion) (/wiki/Buyer_(fashion)) Buzz cut (/wiki/Buzz_cut) BWH (/wiki/BWH) Bycocket (/wiki/Bycocket) Byssus (/wiki/Byssus) Byzantine chain (/wiki/Byzantine_chain) Byzantine dress (/wiki/Byzantine_dress) Byzantine silk (/wiki/Byzantine_silk) C [ edit ] Cabbage-tree hat (/wiki/Cabbage-tree_hat) Cable knitting (/wiki/Cable_knitting) Cache-cœur (/wiki/Cache-c%C5%93ur) Cache-sexe (/wiki/Cache-sexe) Cagoule (/wiki/Cagoule) Calendering (/wiki/Calendering) Calfskin (/wiki/Calfskin) Calico (textile) (/wiki/Calico_(textile)) Caligae (/wiki/Caligae) Camauro (/wiki/Camauro) Cambric (/wiki/Cambric) Camel hair (/wiki/Camel_hair) Camisa blouse (/wiki/Camisa_blouse) Camisole (/wiki/Camisole) Camlet (/wiki/Camlet) Camocas (/wiki/Camocas) Camp shirt (/wiki/Camp_shirt) Campaign hat (/wiki/Campaign_hat) Can-can dress (/wiki/Can-can_dress) Canadian military fur wedge cap (/wiki/Canadian_military_fur_wedge_cap) Candlewicking (/wiki/Candlewicking) Canepin (/wiki/Canepin) Canezou (/wiki/Canezou) Canterbury cap (/wiki/Canterbury_cap) Canvas (/wiki/Canvas) Cap (/wiki/Cap) Cap (sport) (/wiki/Cap_(sport)) Cap badge (/wiki/Cap_badge) Cap of Maintenance (/wiki/Cap_of_Maintenance) Capalana (/wiki/Capalana) Cape (/wiki/Cape) Capeline (/wiki/Capeline) Capirote (/wiki/Capirote) Capotain (/wiki/Capotain) Cappello Alpino (/wiki/Cappello_Alpino) Cappello romano (/wiki/Cappello_romano) Capri pants (/wiki/Capri_pants) Capuchon (/wiki/Capuchon) Caraco (/wiki/Caraco) Cardigan (sweater) (/wiki/Cardigan_(sweater)) Carding (/wiki/Carding) Cargo pants (/wiki/Cargo_pants) Carmagnole (/wiki/Carmagnole) Carpenter jeans (/wiki/Carpenter_jeans) Carpet bag (/wiki/Carpet_bag) Capsule wardrobe (/wiki/Capsule_wardrobe) Carrickmacross lace (/wiki/Carrickmacross_lace) Cashmere wool (/wiki/Cashmere_wool) Casquette (/wiki/Casquette) Casquette d'Afrique (/wiki/Casquette_d%27Afrique) Cassock (/wiki/Cassock) Casual attire (/wiki/Casual_attire) Casual Friday (/wiki/Casual_Friday) Casual (subculture) (/wiki/Casual_(subculture)) Cat eye glasses (/wiki/Cat_eye_glasses) Catholic school uniform (/wiki/Catholic_school_uniform) Catsuit (/wiki/Catsuit) Caubeen (/wiki/Caubeen) Caul (headgear) (/wiki/Caul_(headgear)) Caulk boots (/wiki/Caulk_boots) Cavalier boots (/wiki/Cavalier_boots) Cavalier hat (/wiki/Cavalier_hat) Cellulose (/wiki/Cellulose) Celtic brooch (/wiki/Celtic_brooch) Ceremonial clothing in Western cultures (/wiki/Ceremonial_clothing_in_Western_cultures) Ceremonial dress (/wiki/Ceremonial_dress) Cervelliere (/wiki/Cervelliere) Cestus (/wiki/Cestus) Chador (/wiki/Chador) Chalcidian helmet (/wiki/Chalcidian_helmet) Chamanto (/wiki/Chamanto) Chamois leather (/wiki/Chamois_leather) Championship belt (/wiki/Championship_belt) Chang kben (/wiki/Chang_kben) Chang'ao (/wiki/Chang%27ao) Changshan (/wiki/Changshan) Chantilly lace (/wiki/Chantilly_lace) Chap boot (/wiki/Chap_boot) Chapan (/wiki/Chapan) Chapatsu (/wiki/Chapatsu) Chapeau (/wiki/Chapeau) Chaperon (headgear) (/wiki/Chaperon_(headgear)) Chaplet (headgear) (/wiki/Chaplet_(headgear)) Chaps (/wiki/Chaps) Charm bracelet (/wiki/Charm_bracelet) Charmeuse (/wiki/Charmeuse) Chastity belt (/wiki/Chastity_belt) Chasuble (/wiki/Chasuble) Chatelaine (chain) (/wiki/Chatelaine_(chain)) Chausses (/wiki/Chausses) Che Guevara in fashion (/wiki/Che_Guevara_in_fashion) Cheerleading uniform (/wiki/Cheerleading_uniform) Cheesecloth (/wiki/Cheesecloth) Chef's uniform (/wiki/Chef%27s_uniform) Chelsea boot (/wiki/Chelsea_boot) Chemise (/wiki/Chemise) Chemise cagoule (/wiki/Chemise_cagoule) Chemisette (/wiki/Chemisette) Chenille fabric (/wiki/Chenille_fabric) Cheongsam (/wiki/Cheongsam) Cheopji (/wiki/Cheopji) Chesterfield coat (/wiki/Chesterfield_coat) Chic (style) (/wiki/Chic_(style)) Chicken suit (/wiki/Chicken_suit) Chiffon (clothing) (/wiki/Chiffon_(clothing)) Chiffon (fabric) (/wiki/Chiffon_(fabric)) Chignon (hairstyle) (/wiki/Chignon_(hairstyle)) Chikan (embroidery) (/wiki/Chikan_(embroidery)) Children's clothing (/wiki/Children%27s_clothing) Chilote cap (/wiki/Chilote_cap) Chilote poncho (/wiki/Chilote_poncho) Chima (clothing) (/wiki/Chima_(clothing)) Chima jeogori (/wiki/Chima_jeogori) Chimere (/wiki/Chimere) Chinese academic dress (/wiki/Chinese_academic_dress) Chinese clothing (/wiki/Chinese_clothing) Chino cloth (/wiki/Chino_cloth) Chintz (/wiki/Chintz) Chiton (costume) (/wiki/Chiton_(costume)) Chlamys (/wiki/Chlamys) Choga (garment) (/wiki/Choga_(garment)) Choir dress (/wiki/Choir_dress) Choker (/wiki/Choker) Chokha (/wiki/Chokha) Choli (/wiki/Choli) Choora (/wiki/Choora) Chopine (/wiki/Chopine) Christian clothing (/wiki/Christian_clothing) Christian headcovering (/wiki/Christian_headcovering) Chuba (/wiki/Chuba) Chugha (/wiki/Chugha) Chukka boot (/wiki/Chukka_boot) Chullo (/wiki/Chullo) Chupalla (/wiki/Chupalla) Churidar (/wiki/Churidar) Cieszyn folk costume (/wiki/Cieszyn_folk_costume) Cilice (/wiki/Cilice) Cincture (/wiki/Cincture) Circlet (/wiki/Circlet) Clear heels (/wiki/Clear_heels) Cleat (shoe) (/wiki/Cleat_(shoe)) Cleavage (breasts) (/wiki/Cleavage_(breasts)) Cleavage enhancement (/wiki/Cleavage_enhancement) Clerical clothing (/wiki/Clerical_clothing) Clerical collar (/wiki/Clerical_collar) Climbing shoe (/wiki/Climbing_shoe) Clip-on tie (/wiki/Clip-on_tie) Cloak (/wiki/Cloak) Cloche hat (/wiki/Cloche_hat) Close-bodied gown (/wiki/Close-bodied_gown) Close helm (/wiki/Close_helm) Close helmet (/wiki/Close_helmet) Clothing fetish (/wiki/Clothing_fetish) Clothing in Africa (/wiki/Clothing_in_Africa) Clothing in ancient Egypt (/wiki/Clothing_in_ancient_Egypt) Clothing in ancient Greece (/wiki/Clothing_in_ancient_Greece) Clothing in ancient Rome (/wiki/Clothing_in_ancient_Rome) Clothing in India (/wiki/Clothing_in_India) Clothing in Mauritius (/wiki/Clothing_in_Mauritius) Clothing in the ancient world (/wiki/Clothing_in_the_ancient_world) Clothing in the Ragtime Era (/wiki/Clothing_in_the_Ragtime_Era) Clothing insulation (/wiki/Clothing_insulation) Clothing laws by country (/wiki/Clothing_laws_by_country) Clothing material (/wiki/Clothing_material) Clothing sizes (/wiki/Clothing_sizes) Clothing technology (/wiki/Clothing_technology) Clothing terminology (/wiki/Clothing_terminology) Clog (British) (/wiki/Clog_(British)) Clog (shoe) (/wiki/Clog_(shoe)) Clubwear (/wiki/Clubwear) Clutch (pin fastener) (/wiki/Clutch_(pin_fastener)) Coat (clothing) (/wiki/Coat_(clothing)) Coat pocket (/wiki/Coat_pocket) Cockade (/wiki/Cockade) Cockernonnie (/wiki/Cockernonnie) Cocktail dress (/wiki/Cocktail_dress) Cocktail hat (/wiki/Cocktail_hat) Coconut jewelry (/wiki/Coconut_jewelry) Codpiece (/wiki/Codpiece) Coif (/wiki/Coif) Coin purse (/wiki/Coin_purse) Cointoise (/wiki/Cointoise) Coir (/wiki/Coir) Collar (BDSM) (/wiki/Collar_(BDSM)) Collar (clothing) (/wiki/Collar_(clothing)) Collar (jewelry) (/wiki/Collar_(jewelry)) Collar pin (/wiki/Collar_pin) Collar stays (/wiki/Collar_stays) Colobium sindonis (/wiki/Colobium_sindonis) Colour fastness (/wiki/Colour_fastness) Coloured hat (/wiki/Coloured_hat) Combat boot (/wiki/Combat_boot) Combing (/wiki/Combing) Compression garment (/wiki/Compression_garment) Compression shorts (/wiki/Compression_shorts) Compression sportswear (/wiki/Compression_sportswear) Compression stockings (/wiki/Compression_stockings) Concert T-shirt (/wiki/Concert_T-shirt) Conical Asian hat (/wiki/Conical_Asian_hat) Contemporary Western wedding dress (/wiki/Contemporary_Western_wedding_dress) Cooling vest (/wiki/Cooling_vest) Coolus helmet (/wiki/Coolus_helmet) Coonskin cap (/wiki/Coonskin_cap) Cooper A-2 jacket (/wiki/Cooper_A-2_jacket) Cope (/wiki/Cope) Coppola (cap) (/wiki/Coppola_(cap)) Çorape (/wiki/%C3%87orape) Copyright law of fashion design (/wiki/Fashion_design_copyright) Corduroy (/wiki/Corduroy) Cork hat (/wiki/Cork_hat) Corinthian helmet (/wiki/Corinthian_helmet) Cornette (/wiki/Cornette) Cornrows (/wiki/Cornrows) Corolla (headgear) (/wiki/Corolla_(headgear)) Coronet (/wiki/Coronet) Corsage (/wiki/Corsage) Corsage (bodice) (/wiki/Corsage_(bodice)) Corselet (/wiki/Corselet) Corset (/wiki/Corset) Corslet (/wiki/Corslet) Cosmetics (/wiki/Cosmetics) Cosmetics in Ancient Rome (/wiki/Cosmetics_in_Ancient_Rome) Cosmetics in the 1920s (/wiki/Cosmetics_in_the_1920s) Cosplay (/wiki/Cosplay) Costume (/wiki/Costume) Costume de rigueur (/wiki/Costume_de_rigueur) Costume jewelry (/wiki/Costume_jewelry) Cotton (/wiki/Cotton) Cotton duck (/wiki/Cotton_duck) Coty Award (/wiki/Coty_Award) Council of Fashion Designers of America (/wiki/Council_of_Fashion_Designers_of_America) Court dress (/wiki/Court_dress) Court shoe (/wiki/Court_shoe) Court uniform and dress (/wiki/Court_dress) Courtepy (/wiki/Courtepy) Coutil (/wiki/Coutil) Couturier (/wiki/Couturier) Cowboy boot (/wiki/Cowboy_boot) Cowboy hat (/wiki/Cowboy_hat) Cowhide (/wiki/Cowhide) Cowichan knitting (/wiki/Cowichan_knitting) Cowl (/wiki/Cowl) Crakow (shoe) (/wiki/Crakow_(shoe)) Crape (/wiki/Crape) Cravat (/wiki/Cravat_(early)) Cretonne (/wiki/Cretonne) Crew cut (/wiki/Crew_cut) Crew neck (/wiki/Crew_neck) Crew sock (/wiki/Crew_sock) Cricket cap (/wiki/Cricket_cap) Cricket whites (/wiki/Cricket_whites) Crinoline (/wiki/Crinoline) Croatian national costume (/wiki/Croatian_national_costume) Crochet (/wiki/Crochet) Crochet thread (/wiki/Crochet_thread) Crocheted lace (/wiki/Crocheted_lace) Crop (hairstyle) (/wiki/Crop_(hairstyle)) Crop top (/wiki/Crop_top) Cross country running shoes (/wiki/Cross_country_running_shoes) Cross necklace (/wiki/Cross_necklace) Crown (headgear) (/wiki/Crown_(headgear)) Cruise collection (/wiki/Cruise_collection) Cuban heel (/wiki/Heel_(shoe)#Male_wear) Cuff (/wiki/Cuff) Cufflink (/wiki/Cufflink) Culottes (/wiki/Culottes) Cummerbund (/wiki/Cummerbund) Cuprammonium rayon (/wiki/Cuprammonium_rayon) Custodian helmet (/wiki/Custodian_helmet) Cut and sew (/wiki/Cut_and_sew) Cut-off (/wiki/Cut-off) Cut-resistant gloves (/wiki/Cut-resistant_gloves) Cycling glove (/wiki/Cycling_glove) Cycling shoe (/wiki/Cycling_shoe) Cycling shorts (/wiki/Cycling_shorts) Czapka (/wiki/Czapka) D [ edit ] Daenggi (/wiki/Daenggi) Dalmatic (/wiki/Dalmatic) Damask (/wiki/Damask) Dance belt (/wiki/Dance_belt) Dandy (/wiki/Dandy) Dangui (/wiki/Dangui) Daopao (/wiki/Daopao) Dark adaptor goggles (/wiki/Dark_adaptor_goggles) Dart (sewing) (/wiki/Dart_(sewing)) Dashiki (/wiki/Dashiki) Dastar (/wiki/Dastar) Daura-Suruwal (/wiki/Daura-Suruwal) Daxiushan (/wiki/Daxiushan) Débutante dress (/wiki/D%C3%A9butante_dress) Décolletage (/wiki/D%C3%A9colletage) Deel (clothing) (/wiki/Deel_(clothing)) Deely bobber (/wiki/Deely_bobber) Deerskin trade (/wiki/Deerskin_trade) Deerstalker (/wiki/Deerstalker) Delia (clothing) (/wiki/Delia_(clothing)) Delphos gown (/wiki/Delphos_gown) Denim (/wiki/Denim) Denim skirt (/wiki/Denim_skirt) Denison smock (/wiki/Denison_smock) Dép lốp (/wiki/D%C3%A9p_l%E1%BB%91p) Derby shoe (/wiki/Derby_shoe) Designer clothing (/wiki/Designer_clothing) Designer label (/wiki/Designer_label) Desizing (/wiki/Desizing) Detachable collar (/wiki/Detachable_collar) Deubré (/wiki/Deubr%C3%A9) Devilock (/wiki/Devilock) Devoré (/wiki/Devor%C3%A9) Dhaka topi (/wiki/Dhaka_topi) Dhakai (/wiki/Dhakai) Dhoti (/wiki/Dhoti) Diabetic sock (/wiki/Diabetic_sock) Diadem (/wiki/Diadem) Diaper (/wiki/Diaper) Diaper bag (/wiki/Diaper_bag) Dickey (garment) (/wiki/Dickey_(garment)) Dillybag (/wiki/Dillybag) Dimity (/wiki/Dimity) Diplomatic uniform (/wiki/Diplomatic_uniform) Dirndl (/wiki/Dirndl) Disruptive Pattern Combat Uniform (/wiki/Disruptive_Pattern_Combat_Uniform) Disruptive Pattern Material (/wiki/Disruptive_Pattern_Material) Ditto suit (/wiki/Ditto_suit) Diving suit (/wiki/Diving_suit) Diyi (/wiki/Diyi) Djellaba (/wiki/Djellaba) Do-rag (/wiki/Do-rag) Dobok (/wiki/Dobok) Doctoral hat (/wiki/Doctoral_hat) Dolly Varden (costume) (/wiki/Dolly_Varden_(costume)) Dolman (/wiki/Dolman) Dolphin shorts (/wiki/Dolphin_shorts) Domino mask (/wiki/Domino_mask) Donegal tweed (/wiki/Donegal_tweed) Donkey jacket (/wiki/Donkey_jacket) Doobon coat (/wiki/Doobon_coat) Dopo (clothing) (/wiki/Dopo_(clothing)) Dopp kit (/wiki/Dopp_kit) Doppa (/wiki/Doppa) Dotted Swiss (Fabric) (/wiki/Dotted_Swiss_(Fabric)) Double cloth (/wiki/Double_cloth) Double-breasted (/wiki/Double-breasted) Double knitting (/wiki/Double_knitting) Doublet (clothing) (/wiki/Doublet_(clothing)) Down feather (/wiki/Down_feather) Drag (clothing) (/wiki/Drag_(clothing)) Drape suit (/wiki/Drape_suit) Draped garment (/wiki/Draped_garment) Drapery (/wiki/Drapery) Drawstring (/wiki/Drawstring) Dreadlocks (/wiki/Dreadlocks) Dress (/wiki/Dress) Dress boot (/wiki/Dress_boot) Dress code (/wiki/Dress_code) Dress code (Western) (/wiki/Dress_code_(Western)) Dress of the Year (/wiki/Dress_of_the_Year) Dress pants (/wiki/Dress_pants) Dress shirt (/wiki/Dress_shirt) Dress shoe (/wiki/Dress_shoe) Dress socks (/wiki/Dress_socks) Dress uniform (/wiki/Dress_uniform) Driglam namzha (/wiki/Driglam_namzha) Drill (fabric) (/wiki/Drill_(fabric)) Driving glove (/wiki/Driving_glove) Driving moccasins (/wiki/Driving_moccasins) Driza-Bone (/wiki/Driza-Bone) Duffel bag (/wiki/Duffel_bag) Duffle coat (/wiki/Duffle_coat) Dumalla (/wiki/Dumalla) Dumdyam (/wiki/Dumdyam) Dumpra (/wiki/Dumpra) Dunce cap (/wiki/Dunce_cap) Dupatta (/wiki/Dupatta) Dupioni (/wiki/Dupioni) Durumagi (/wiki/Durumagi) Dush-toh (/wiki/Dush-toh) Duster (clothing) (/wiki/Duster_(clothing)) Dutch cap (/wiki/Dutch_cap) Dutch Fashion Awards (/wiki/Dutch_Fashion_Awards) Duty armband (/wiki/Duty_armband) Dwikkoji (/wiki/Dwikkoji) Dye (/wiki/Dye) Dyeing (/wiki/Dyeing) E [ edit ] E-textiles (/wiki/E-textiles) Early medieval European dress (/wiki/Early_medieval_European_dress) Earmuffs (/wiki/Earmuffs) Earring (/wiki/Earring) Easter bonnet (/wiki/Easter_bonnet) Earth shoe (/wiki/Earth_shoe) Edible underwear (/wiki/Edible_underwear) Eisenhower jacket (/wiki/Eisenhower_jacket) Elastomer (/wiki/Elastomer) Electric jacket (/wiki/Electric_jacket) Elevator shoes (/wiki/Elevator_shoes) Elle Style Awards (/wiki/Elle_Style_Awards) Embroidery (/wiki/Embroidery) Empire silhouette (/wiki/Empire_silhouette) EN 13402 (/wiki/EN_13402) End-on-end (/wiki/End-on-end) Energy dome (/wiki/Energy_dome) Engageante (/wiki/Engageante) Engineer boot (/wiki/Engineer_boot) English medieval clothing (/wiki/English_medieval_clothing) Engolpion (/wiki/Engolpion) Epanokamelavkion (/wiki/Epanokamelavkion) Epaulette (/wiki/Epaulette) Ephod (/wiki/Ephod) Epigonation (/wiki/Epigonation) Epimanikia (/wiki/Epimanikia) Episcopal sandals (/wiki/Episcopal_sandals) Epitrachil (/wiki/Epitrachil) Equestrian helmet (/wiki/Equestrian_helmet) Eri silk (/wiki/Eri_silk) Espadrille (/wiki/Espadrille) Ethiopian coffee dress (/wiki/Ethiopian_coffee_dress) Ethiopian suit (/wiki/Ethiopian_suit) Eton crop (/wiki/Eton_crop) Etruscan jewelry (/wiki/Etruscan_jewelry) Eunjangdo (/wiki/Eunjangdo) Evening glove (/wiki/Evening_glove) Evening gown (/wiki/Evening_gown) Exerlopers (/wiki/Exerlopers) Exomis (/wiki/Exomis) Extraocular implant (/wiki/Extraocular_implant) Extreme environment clothing (/wiki/Extreme_environment_clothing) Eyelet (/wiki/Cutwork) Eyepatch (/wiki/Eyepatch) F [ edit ] Facekini (/wiki/Facekini) Facing (sewing) (/wiki/Facing_(sewing)) Facing colour (/wiki/Facing_colour) Faggoting (knitting) (/wiki/Faggoting_(knitting)) Fáinne (/wiki/F%C3%A1inne) Fair Isle (technique) (/wiki/Fair_Isle_(technique)) Fake fur (/wiki/Fake_fur) Falling buffe (/wiki/Falling_buffe) Falsies (/wiki/Falsies) Faluche (/wiki/Faluche) Fanny pack (/wiki/Fanny_pack) Faroese shawl (/wiki/Faroese_shawl) Farshi Pajama (/wiki/Farshi_Pajama) Farthingale (/wiki/Farthingale) Fascia (vestment) (/wiki/Fascia_(vestment)) Fascinator (/wiki/Fascinator) Fashion (/wiki/Fashion) Fashion accessory (/wiki/Fashion_accessory) Fashion cigarettes (/wiki/Fashion_cigarettes) Fashion capital (/wiki/Fashion_capital) Fashion doll (/wiki/Fashion_doll) Fashion entrepreneur (/wiki/Fashion_entrepreneur) Fashion forecasting (/wiki/Fashion_forecasting) Fashion in the United States (/wiki/Fashion_in_the_United_States) Fashion law (/wiki/Fashion_law) Fashion matrix (/wiki/Fashion_matrix) Fashion merchandising (/wiki/Fashion_merchandising) Fashion museum (/wiki/Fashion_museum) Fashion plate (/wiki/Fashion_plate) Fashion week (/wiki/Fashion_week) Fast fashion (/wiki/Fast_fashion) Feather boa (/wiki/Feather_boa) Feather bonnet (/wiki/Feather_bonnet) Feather cloak (/wiki/Feather_cloak) Feather tights (/wiki/Feather_tights) Featherstitch (/wiki/Featherstitch) Fedora (/wiki/Fedora) Felt (/wiki/Felt) Ferreruolo (/wiki/Ferreruolo) Fetish fashion (/wiki/Fetish_fashion) Fez (hat) (/wiki/Fez_(hat)) Fiber (/wiki/Fiber) Fibroin (/wiki/Fibroin) Fibula (brooch) (/wiki/Fibula_(brooch)) Fichu (/wiki/Fichu) Field sign (/wiki/Field_sign) Filet crochet (/wiki/Filet_crochet) Filet lace (/wiki/Filet_lace) Fillet (clothing) (/wiki/Fillet_(clothing)) Finding (/wiki/Finding_(jewelcrafting)) Finger wave (/wiki/Finger_wave) Fishnet (/wiki/Fishnet) Flak jacket (/wiki/Flak_jacket) Flame retardant (/wiki/Flame_retardant) Flamenco shoes (/wiki/Flamenco_shoes) Flannel (/wiki/Flannel) Flannel vest (/wiki/Flannel_vest) Flapper (/wiki/Flapper) Flax (/wiki/Flax) Flight jacket (/wiki/Flight_jacket) Flight suit (/wiki/Flight_suit) Flip-flops (/wiki/Flip-flops) Flipsters (/wiki/Flipsters) Floating canvas (/wiki/Floating_canvas) Flocking (texture) (/wiki/Flocking_(texture)) Flogger (fashion) (/wiki/Flogger_(fashion)) Fly (clothing) (/wiki/Fly_(clothing)) Fly plaid (/wiki/Fly_plaid) Focale (/wiki/Focale) Fofudja (/wiki/Fofudja) Folk costume (/wiki/Folk_costume) Fontange (/wiki/Fontange) Foot binding (/wiki/Foot_binding) Football boot (/wiki/Football_boot) Footwraps (/wiki/Footwraps) Forage cap (/wiki/Forage_cap) Form-fitting garment (/wiki/Form-fitting_garment) Formal Thai national costume (/wiki/Formal_Thai_national_costume) Formal trousers (/wiki/Formal_trousers) Formal wear (/wiki/Formal_wear) Foulard (/wiki/Foulard) Foundation (cosmetics) (/wiki/Foundation_(cosmetics)) Foundation garment (/wiki/Foundation_garment) Four-in-hand knot (/wiki/Four-in-hand_knot) Four Winds hat (/wiki/Four_Winds_hat) Fouta towels (/wiki/Fouta_towels) Freezy Freakies (/wiki/Freezy_Freakies) French braid (/wiki/French_braid) French hood (/wiki/French_hood) French knickers (/wiki/French_knickers) French twist (hairstyle) (/wiki/French_twist_(hairstyle)) Friendship bracelet (/wiki/Friendship_bracelet) Frieze (textile) (/wiki/Frieze_(textile)) Fringe (hair) (/wiki/Fringe_(hair)) Fringe (trim) (/wiki/Fringe_(trim)) Frock (/wiki/Frock) Frock coat (/wiki/Frock_coat) Frog (fastening) (/wiki/Frog_(fastening)) Fruit hat (/wiki/Fruit_hat) Fuck-me shoes (/wiki/Fuck-me_shoes) Full dress (/wiki/Full_dress) Full plaid (/wiki/Full_plaid) Fulling (/wiki/Fulling) Fully fashioned stockings (/wiki/Fully_fashioned_stockings) Fundoshi (/wiki/Fundoshi) Furisode (/wiki/Furisode) Fur (/wiki/Fur) Fur clothing (/wiki/Fur_clothing) Fursuit (/wiki/Fursuit) Fustanella (/wiki/Fustanella) Fustian (/wiki/Fustian) G [ edit ] G-1 military flight jacket (/wiki/G-1_military_flight_jacket) G-string (/wiki/G-string) Gabardine (/wiki/Gabardine) Gaberdine (/wiki/Gaberdine) Gable hood (/wiki/Gable_hood) Gache (/wiki/Gache) Gagra choli (/wiki/Gagra_choli) Gaiters (/wiki/Gaiters) Gajra (/wiki/Gajra) Gákti (/wiki/G%C3%A1kti) Galea (helmet) (/wiki/Galea_(helmet)) Galero (/wiki/Galero) Galesh (/wiki/Galesh) Galloon (/wiki/Galloon) Galoshes (/wiki/Galoshes) Gambeson (/wiki/Gambeson) Gamine (/wiki/Gamine) Gamosa (/wiki/Gamosa) Gamsbart (/wiki/Gamsbart) Gamucha (/wiki/Gamucha) Gamurra (/wiki/Gamurra) Gandhi cap (/wiki/Gandhi_cap) Ganguro (/wiki/Ganguro) Ganse cord (/wiki/Ganse_cord) Garibaldi shirt (/wiki/Garibaldi_shirt) Garot (/wiki/Garot) Gartel (/wiki/Gartel) Garter (stockings) (/wiki/Garter_(stockings)) Gat (hat) (/wiki/Gat_(hat)) Gather (sewing) (/wiki/Gather_(sewing)) Gauge (knitting) (/wiki/Gauge_(knitting)) Gaung baung (/wiki/Gaung_baung) Gauntlet (glove) (/wiki/Gauntlet_(glove)) Gauze (/wiki/Gauze) Gel bracelet (/wiki/Gel_bracelet) Geneva gown (/wiki/Geneva_gown) Genital jewellery (/wiki/Genital_jewellery) Geodeulji (/wiki/Geodeulji) Georgette (fabric) (/wiki/Georgette_(fabric)) Geotextiles (/wiki/Geotextiles) Geta (footwear) (/wiki/Geta_(footwear)) Geumbak (/wiki/Geumbak) Ghanaian smock (/wiki/Ghanaian_smock) Gharara (/wiki/Gharara) Ghillie shirt (/wiki/Ghillie_shirt) Ghillie suit (/wiki/Ghillie_suit) Ghillies (dance) (/wiki/Ghillies_(dance)) Gho (/wiki/Gho) Għonnella (/wiki/G%C4%A7onnella) Ghoonghat (/wiki/Ghoonghat) Ghost shirt (/wiki/Ghost_shirt) Ghungroo (/wiki/Ghungroo) GI glasses (/wiki/GI_glasses) Gilet (/wiki/Gilet) Gimp (thread) (/wiki/Gimp_(thread)) Gingham (/wiki/Gingham) Girdle (/wiki/Girdle) Girdle book (/wiki/Girdle_book) Girl boxers (/wiki/Girl_boxers) Giveh (/wiki/Giveh) Gladstone bag (/wiki/Gladstone_bag) Glamour (presentation) (/wiki/Glamour_(presentation)) Glass fiber (/wiki/Glass_fiber) Glasses (/wiki/Glasses) Glen plaid (/wiki/Glen_plaid) Glengarry (/wiki/Glengarry) Glossary of dyeing terms (/wiki/Glossary_of_dyeing_terms) Glossary of sewing terms (/wiki/Glossary_of_sewing_terms) Glossary of textile manufacturing (/wiki/Glossary_of_textile_manufacturing) Glossary of textile terminology (/wiki/Glossary_of_textile_terminology) Glove (/wiki/Glove) Glove (ice hockey) (/wiki/Glove_(ice_hockey)) Go-go boot (/wiki/Go-go_boot) Goatskin (material) (/wiki/Goatskin_(material)) Godet (sewing) (/wiki/Godet_(sewing)) Goggle jacket (/wiki/Goggle_jacket) Goggles (/wiki/Goggles) Going commando (/wiki/Going_commando) Gold-filled jewelry (/wiki/Gold-filled_jewelry) Golden hat (/wiki/Golden_hat) Gomesi (/wiki/Gomesi) Gomusin (/wiki/Gomusin) Gonryongpo (/wiki/Gonryongpo) Gook (headgear) (/wiki/Gook_(headgear)) Gore (segment) (/wiki/Gore_(segment)) Gore-Tex (/wiki/Gore-Tex) Gorget (/wiki/Gorget) Gota Work (/wiki/Gota_Work) Gothic fashion (/wiki/Gothic_fashion) Gown (/wiki/Gown) Gowni (/wiki/Gowni) Grameen Check (/wiki/Grameen_Check) Grandfather shirt (/wiki/Grandfather_shirt) Granny square (/wiki/Granny_square) Grass skirt (/wiki/Grass_skirt) Greatcoat (/wiki/Greatcoat) Great helm (/wiki/Great_helm) Grecian bend (/wiki/Grecian_bend) Greek Army uniforms (/wiki/Greek_Army_uniforms) Greek fisherman's cap (/wiki/Greek_fisherman%27s_cap) Green beret (/wiki/Green_beret) Green eyeshade (/wiki/Green_eyeshade) Green jersey (/wiki/Green_jersey) Grenadine (cloth) (/wiki/Grenadine_(cloth)) Grill (jewelry) (/wiki/Grill_(jewelry)) Grommet (/wiki/Grommet) Grosgrain (/wiki/Grosgrain) Grotulja (/wiki/Grotulja) Guayabera (/wiki/Guayabera) Guernsey (clothing) (/wiki/Guernsey_(clothing)) Gugel (/wiki/Gugel) Guimpe (/wiki/Guimpe) Gulle (/wiki/Gulle) Gusset (/wiki/Gusset) Gwanbok (/wiki/Gwanbok) Gyaru (/wiki/Gyaru) Gymnasterka (/wiki/Gymnasterka) Gymslip (/wiki/Gymslip) H [ edit ] Haapsalu shawl (/wiki/Haapsalu_shawl) Habesha kemis (/wiki/Habesha_kemis) Hachimaki (/wiki/Hachimaki) Hackle (/wiki/Hackle) Hadagi (/wiki/Hadagi) Haferlschuh (/wiki/Haferlschuh) Hair crimping (/wiki/Hair_crimping) Hair drop (/wiki/Hair_drop) Hair jewellery (/wiki/Hair_jewellery) Hair stick (/wiki/Hair_stick) Hair tie (/wiki/Hair_tie) Hairnet (/wiki/Hairnet) Hairpin (fashion) (/wiki/Hairpin_(fashion)) Hairpin lace (/wiki/Hairpin_lace) Hakama (/wiki/Hakama) Half-Windsor knot (/wiki/Half-Windsor_knot) Halterneck (/wiki/Halterneck) Hammer pants (/wiki/Hammer_pants) Han Chinese clothing (/wiki/Han_Chinese_clothing) Hanbok (/wiki/Hanbok) Hand knitting (/wiki/Hand_knitting) Handbag (/wiki/Handbag) Handkerchief (/wiki/Handkerchief) Handkerchief skirt (/wiki/Handkerchief_skirt) Hanfu movement (/wiki/Hanfu_movement) Hangaroc (/wiki/Hangaroc) Hanten (/wiki/Hanten) Happi (/wiki/Happi) Haramaki (clothing) (/wiki/Haramaki_(clothing)) Hard hat (/wiki/Hard_hat) Hardee hat (/wiki/Hardee_hat) Harem pants (/wiki/Harem_pants) Harrington jacket (/wiki/Harrington_jacket) Harris tweed (/wiki/Harris_tweed) Hat (/wiki/Hat) Hat Act (/wiki/Hat_Act) Hat tax (/wiki/Hat_tax) Hatpin (/wiki/Hatpin) Hatstand (/wiki/Hatstand) Hauberk (/wiki/Hauberk) Haute couture (/wiki/Haute_couture) Haversack (/wiki/Haversack) Head tie (/wiki/Head_tie) Headband (/wiki/Headband) Headgear (/wiki/Headgear) Headgear (martial arts) (/wiki/Headgear_(martial_arts)) Headpiece (/wiki/Headpiece) Headscarf (/wiki/Headscarf) Heated clothing (/wiki/Heated_clothing) Heather (fabric) (/wiki/Heather_(fabric)) Heel (shoe) (/wiki/Heel_(shoe)) Heelys (/wiki/Heelys) Hejazi turban (/wiki/Hejazi_turban) Helmet (/wiki/Helmet) Helmet (cricket) (/wiki/Helmet_(cricket)) Hem (/wiki/Hem) Hemline (/wiki/Hemline) Hemline index (/wiki/Hemline_index) Hemp (/wiki/Hemp) Hemp jewelry (/wiki/Hemp_jewelry) Henley shirt (/wiki/Henley_shirt) Hennin (/wiki/Hennin) Herringbone (cloth) (/wiki/Herringbone_(cloth)) Hessian (boot) (/wiki/Hessian_(boot)) High-low skirt (/wiki/High-low_skirt) High-technology swimwear fabric (/wiki/High-technology_swimwear_fabric) High-top (/wiki/High-top) High-visibility clothing (/wiki/High-visibility_clothing) Highland dress (/wiki/Highland_dress) Hijab (/wiki/Hijab) Hijab by country (/wiki/Hijab_by_country) Hiking boot (/wiki/Hiking_boot) Himation (/wiki/Himation) Hime cut (/wiki/Hime_cut) Hip and buttock padding (/wiki/Hip_and_buttock_padding) Hip boot (/wiki/Hip_boot) Hip-hop fashion (/wiki/Hip-hop_fashion) Hip-huggers (/wiki/Hip-huggers) History of brassieres (/wiki/History_of_brassieres) History of clothing and textiles (/wiki/History_of_clothing_and_textiles) History of corsets (/wiki/History_of_corsets) History of jewelry in Ukraine (/wiki/History_of_jewelry_in_Ukraine) History of knitting (/wiki/History_of_knitting) History of silk (/wiki/History_of_silk) History of suits (/wiki/History_of_suits) History of the bikini (/wiki/History_of_the_bikini) History of the kilt (/wiki/History_of_the_kilt) Hnyat-phanat (/wiki/Hnyat-phanat) Hobble skirt (/wiki/Hobble_skirt) Hobnail (/wiki/Hobnail) Hobo bag (/wiki/Hobo_bag) Hockey helmet (/wiki/Hockey_helmet) Hockey pants (/wiki/Hockey_pants) Hogeon (/wiki/Hogeon) Holbeinesque jewellery (/wiki/Holbeinesque_jewellery) Hold-ups (/wiki/Hold-ups) Holdall (/wiki/Holdall) Holland cloth (/wiki/Holland_cloth) Homburg (hat) (/wiki/Homburg_(hat)) Hōmongi (/wiki/H%C5%8Dmongi) Honeycomb (/wiki/Honeycomb) Hongreline (/wiki/Hongreline) Honiton lace (/wiki/Honiton_lace) Hood (headgear) (/wiki/Hood_(headgear)) Hoodie (/wiki/Hoodie) Hook-and-eye closure (/wiki/Hook-and-eye_closure) Hoop skirt (/wiki/Hoop_skirt) Horn-rimmed glasses (/wiki/Horn-rimmed_glasses) Horned helmet (/wiki/Horned_helmet) Horsehair (/wiki/Horsehair) Hose (clothing) (/wiki/Hose_(clothing)) Hosiery (/wiki/Hosiery) Houndstooth (/wiki/Houndstooth) Hounskull (/wiki/Hounskull) Houppelande (/wiki/Houppelande) Hourglass corset (/wiki/Hourglass_corset) Hoxton knot (/wiki/Hoxton_knot) Huarache (running shoe) (/wiki/Huarache_(running_shoe)) Huarache (shoe) (/wiki/Huarache_(shoe)) Huipil (/wiki/Huipil) Humeral veil (/wiki/Humeral_veil) Hwa (/wiki/Hwa) Hwagwan (/wiki/Hwagwan) Hwarot (/wiki/Hwarot) Hypercolor (/wiki/Hypercolor) I [ edit ] Ice skate (/wiki/Ice_skate) Icelandic national costume (/wiki/Icelandic_national_costume) Icelandic tail-cap (/wiki/Icelandic_tail-cap) Ihram clothing (/wiki/Ihram_clothing) Ikat (/wiki/Ikat) Ilkal saree (/wiki/Ilkal_saree) Illyrian type helmet (/wiki/Illyrian_type_helmet) Imperial helmet (/wiki/Imperial_helmet) Imperial Japanese Army Uniforms (/wiki/Imperial_Japanese_Army_Uniforms) Imperial yellow jacket (/wiki/Imperial_yellow_jacket) Inline skate (/wiki/Inline_skate) Insolia (/wiki/Insolia) Indian wedding clothes (/wiki/Indian_wedding_clothes) Indigo dye (/wiki/Indigo_dye) Indo-Western clothing (/wiki/Indo-Western_clothing) Infant bodysuit (/wiki/Infant_bodysuit) Infant's binder (/wiki/Infant%27s_binder) Informal attire (/wiki/Informal_attire) Intarsia (knitting) (/wiki/Intarsia_(knitting)) Interfacing (/wiki/Interfacing_(textiles)) International Best Dressed List (/wiki/International_Best_Dressed_List) Inverness cape (/wiki/Inverness_cape) Inverness coat (/wiki/Inverness_coat) Irish clothing (/wiki/Irish_clothing) Irish lace (/wiki/Irish_lace) Irish linen (/wiki/Irish_linen) Iron-on (/wiki/Iron-on) It Bag (/wiki/It_Bag) Italian charm bracelet (/wiki/Italian_charm_bracelet) Isiagu (/wiki/Isiagu) Islam and clothing (/wiki/Islam_and_clothing) Islamic dress in Europe (/wiki/Islamic_dress_in_Europe) Izaar (/wiki/Izaar) J [ edit ] Jaapi (/wiki/Jaapi) Jabot (neckwear) (/wiki/Jabot_(neckwear)) Jackboot (/wiki/Jackboot) Jacket (/wiki/Jacket) Jacket lapel (/wiki/Jacket_lapel) Jacquard (/wiki/Jacquard_weaving) Jamavar (/wiki/Jamavar) Jamdani (/wiki/Jamdani) Jangot (/wiki/Jangot) Japanese armour (/wiki/Japanese_armour) Japanese clothing (/wiki/Japanese_clothing) Japanese school uniform (/wiki/Japanese_school_uniform) Jazerant (/wiki/Jazerant) Jazz shoe (/wiki/Jazz_shoe) Jeans (/wiki/Jeans) Jeep cap (/wiki/Jeep_cap) Jeggings (/wiki/Jeggings) Jelebiya (/wiki/Jelebiya) Jelick (/wiki/Jelick) Jellabiya (/wiki/Jellabiya) Jelly shoes (/wiki/Jelly_shoes) Jeogori (/wiki/Jeogori) Jeonbok (/wiki/Jeonbok) Jeongjagwan (/wiki/Jeongjagwan) Jerkin (garment) (/wiki/Jerkin_(garment)) Jersey (clothing) (/wiki/Jersey_(clothing)) Jersey (fabric) (/wiki/Jersey_(fabric)) Jet (lignite) (/wiki/Jet_(lignite)) Jewellery (/wiki/Jewellery) Jewellery in the Pacific (/wiki/Jewellery_in_the_Pacific) Jewelry design (/wiki/Jewelry_design) Jewish hat (/wiki/Jewish_hat) Jewish religious clothing (/wiki/Jewish_religious_clothing) Jilbāb (/wiki/Jilb%C4%81b) Jika-tabi (/wiki/Jika-tabi) Jinbei (/wiki/Jinbei) Jingle dress (/wiki/Jingle_dress) Jipsin (/wiki/Jipsin) Jobawi (/wiki/Jobawi) Jockstrap (/wiki/Jockstrap) Jodhpur boot (/wiki/Jodhpur_boot) Jodhpuri (/wiki/Jodhpuri) Jodhpurs (/wiki/Jodhpurs) Jōe (/wiki/J%C5%8De) Jokduri (/wiki/Jokduri) Jorabs (/wiki/Jorabs) Jubba (/wiki/Jubba) Judogi (/wiki/Judogi) Jujutsugi (/wiki/Jujutsugi) Juliet cap (/wiki/Juliet_cap) Jump boot (/wiki/Jump_boot) Jump smock (/wiki/Jump_smock) Jumper (dress) (/wiki/Jumper_(dress)) Jumpsuit (/wiki/Jumpsuit) Jūnihitoe (/wiki/J%C5%ABnihitoe) Jupe (jacket) (/wiki/Jupe_(jacket)) Jussishirt (/w/index.php?title=Jussishirt&action=edit&redlink=1) Justacorps (/wiki/Justacorps) Jute (/wiki/Jute) Jutti (/wiki/Jutti) K [ edit ] Kabney (/wiki/Kabney) Kacchera (/wiki/Kacchera) Kaftan (/wiki/Kaftan) Kalaghai (/wiki/Kalaghai) Kalamkari (/wiki/Kalamkari) Kalimavkion (/wiki/Kalimavkion) Kamleika (/wiki/Kamleika) Kanchipuram Sari (/wiki/Kanchipuram_Sari) Kanga (African garment) (/wiki/Kanga_(African_garment)) Kantha (/wiki/Kantha) Kanthi Mala (/wiki/Kanthi_Mala) Kanzashi (/wiki/Kanzashi) Kalpak (/wiki/Kalpak) Kanzu (/wiki/Kanzu) Kapa (/wiki/Kapa) Kappōgi (/wiki/Kapp%C5%8Dgi) Karakul (hat) (/wiki/Karakul_(hat)) Karate belts (/wiki/Karate_belts) Karate gi (/wiki/Karate_gi) Kariba suit (/wiki/Kariba_suit) Kariyushi shirt (/wiki/Kariyushi_shirt) Kaross (/wiki/Kaross) Karvalakki (/wiki/Karvalakki) Kasa (hat) (/wiki/Kasa_(hat)) Kasaya (clothing) (/wiki/Kasaya_(clothing)) Kashket (/wiki/Kashket) Kasket (/wiki/Kasket) Kasta sari (/wiki/Kasta_sari) Kasuti (/wiki/Kasuti) Kate-bukuro (/wiki/Kate-bukuro) Kate Middleton effect (/wiki/Kate_Middleton_effect) Kausia (/wiki/Kausia) Kebaya (/wiki/Kebaya) Keffiyeh (/wiki/Keffiyeh) Kegelhelm (/wiki/Kegelhelm) Keikogi (/wiki/Keikogi) Kemp (wool) (/wiki/Kemp_(wool)) Kente cloth (/wiki/Kente_cloth) Kepi (/wiki/Kepi) Kerchief (/wiki/Kerchief) Kerseymere (/wiki/Kerseymere) Kesh (Sikhism) (/wiki/Kesh_(Sikhism)) Keski (/wiki/Keski) Kettle hat (/wiki/Kettle_hat) Khādī (/wiki/Kh%C4%81d%C4%AB) Khaki (/wiki/Khaki) Khaki drill (/wiki/Khaki_drill) Khalat (/wiki/Khalat) Khăn rằn (/wiki/Kh%C4%83n_r%E1%BA%B1n) Khandua (/wiki/Khandua) Khara Dupatta (/wiki/Khara_Dupatta) Khata (/wiki/Khata) Khmer clothing (/wiki/Khmer_clothing) Kho (costume) (/wiki/Kho_(costume)) Kiahan (kyahan) (/wiki/Kiahan_(kyahan)) Kidan Habesha (/wiki/Kidan_Habesha) Kidney belt (/wiki/Kidney_belt) Kiekie (clothing) (/wiki/Kiekie_(clothing)) Kijōka-bashōfu (/wiki/Kij%C5%8Dka-bash%C5%8Dfu) Kilt (/wiki/Kilt) Kilt accessories (/wiki/Kilt_accessories) Kilt pin (/wiki/Kilt_pin) Kimono (/wiki/Kimono) Kiondo (/wiki/Kiondo) Kippah (/wiki/Kippah) Kipper tie (/wiki/Kipper_tie) Kira (Bhutan) (/wiki/Kira_(Bhutan)) Kirtle (/wiki/Kirtle) Kirza (/wiki/Kirza) Kitenge (/wiki/Kitenge) Kittel (/wiki/Kittel) Kitten heel (/wiki/Kitten_heel) Kitty Foyle (dress) (/wiki/Kitty_Foyle_(dress)) Kkachi durumagi (/wiki/Kkachi_durumagi) Klomp (/wiki/Klomp) Klobuk (/wiki/Klobuk) Knee-high boot (/wiki/Knee-high_boot) Knee highs (/wiki/Knee_highs) Knickerbockers (clothing) (/wiki/Knickerbockers_(clothing)) Knitted fabric (/wiki/Knitted_fabric) Knitting (/wiki/Knitting) Knochensack (/wiki/Knochensack) Kofia (hat) (/wiki/Kofia_(hat)) Kokoshnik (/wiki/Kokoshnik) Kolhapuri chappal (/wiki/Kolhapuri_chappal) Kolpik (/wiki/Kolpik) Kolpos (/wiki/Kolpos) Konos (helmet) (/wiki/Konos_(helmet)) Kontusz (/wiki/Kontusz) Korean school uniform (/wiki/Korean_school_uniform) Kosa silk (/wiki/Kosa_silk) Kosode (/wiki/Kosode) Kosovorotka (/wiki/Kosovorotka) Kota Doria (/wiki/Kota_Doria) Koteka (/wiki/Koteka) Koto (traditional clothing) (/wiki/Koto_(traditional_clothing)) Koukoulion (/wiki/Koukoulion) Kowpeenam (/wiki/Kowpeenam) Kozhukh (/wiki/Kozhukh) Kozhushanka (/wiki/Kozhushanka) Krama (/wiki/Krama) Kroje (/wiki/Kroje) Kubi bukuro (/wiki/Kubi_bukuro) Kufi (/wiki/Kufi) Kumihimo (/wiki/Kumihimo) Kumkum (/wiki/Kumkum) Kundan (/wiki/Kundan) Kupiah (/wiki/Kupiah) Kurdish clothing (/wiki/Kurdish_clothing) Kurta (/wiki/Kurta) Kurtka (/wiki/Kurtka) Kuta (clothing) (/wiki/Kuta_(clothing)) Kuthampully Saree (/wiki/Kuthampully_Saree) L [ edit ] Lace (/wiki/Lace) Lace wig (/wiki/Lace_wig) Lacrosse glove (/wiki/Lacrosse_glove) Lamba (garment) (/wiki/Lamba_(garment)) Lambswool (/wiki/Lambswool) Lamé (fabric) (/wiki/Lam%C3%A9_(fabric)) Langa oni (/wiki/Langa_oni) Langota (/wiki/Langota) Lap-lap (/wiki/Lap-lap) Lapel pin (/wiki/Lapel_pin) Lappet (/wiki/Lappet) Late Roman ridge helmet (/wiki/Late_Roman_ridge_helmet) Latex clothing (/wiki/Latex_clothing) Laticlave (/wiki/Laticlave) Laundry (/wiki/Laundry) Laundry symbol (/wiki/Laundry_symbol) Laurel wreath (/wiki/Laurel_wreath) Lava-lava (/wiki/Lava-lava) Lavalier (/wiki/Lavalier) Lawn cloth (/wiki/Lawn_cloth) Layered clothing (/wiki/Layered_clothing) Layered hair (/wiki/Layered_hair) Layette (/wiki/Layette) Le Smoking (/wiki/Le_Smoking) Leading strings (/wiki/Leading_strings) Leather (/wiki/Leather) Leather helmet (/wiki/Leather_helmet) Leather jacket (/wiki/Leather_jacket) Leather skirt (/wiki/Leather_skirt) Lederhosen (/wiki/Lederhosen) Leg warmer (/wiki/Leg_warmer) Leggings (/wiki/Leggings) Legskin (/wiki/Legskin) Lehenga Style Saree (/wiki/Lehenga_Style_Saree) Lei (garland) (/wiki/Lei_(garland)) Lèine bhàn (/wiki/L%C3%A8ine_bh%C3%A0n) Leisure suit (/wiki/Leisure_suit) Lensless glasses (/wiki/Lensless_glasses) Letterman (sports) (/wiki/Letterman_(sports)) Liberty bodice (/wiki/Liberty_bodice) Liberty spikes (/wiki/Liberty_spikes) Lightweight Rucksack (/wiki/Lightweight_Rucksack) Lika cap (/wiki/Lika_cap) Limerick lace (/wiki/Limerick_lace) Linen (/wiki/Linen) Linen clothes (/wiki/Linen_clothes) Lingerie (/wiki/Lingerie) Lingerie tape (/wiki/Lingerie_tape) Lining (sewing) (/wiki/Lining_(sewing)) Liqui liqui (/wiki/Liqui_liqui) Liripipe (/wiki/Liripipe) List of brassiere designs (/wiki/List_of_brassiere_designs) List of crochet stitches (/wiki/List_of_crochet_stitches) List of Han Chinese clothing (/wiki/List_of_Han_Chinese_clothing) List of headgear (/wiki/List_of_headgear) List of Korean clothing (/wiki/List_of_Korean_clothing) List of types of fur (/wiki/List_of_types_of_fur) List of types of sartorial hijab (/wiki/List_of_types_of_sartorial_hijab) List of World War II uniforms and clothing (/wiki/List_of_World_War_II_uniforms_and_clothing) List of yarns for crochet and knitting (/wiki/List_of_yarns_for_crochet_and_knitting) Little black dress (/wiki/Little_black_dress) Little Lord Fauntleroy (/wiki/Little_Lord_Fauntleroy) Livery (/wiki/Livery) Livery collar (/wiki/Livery_collar) Llauto (/wiki/Llauto) Lock ring (/wiki/Lock_ring) Lock stitch (/wiki/Lock_stitch) Locking clothing (/wiki/Locking_clothing) Loculus (satchel) (/wiki/Loculus_(satchel)) Loden cape (/wiki/Loden_cape) Loincloth (/wiki/Loincloth) Lolita fashion (/wiki/Lolita_fashion) London Fashion Week (/wiki/London_Fashion_Week) Long hair (/wiki/Long_hair) Long-sleeved T-shirt (/wiki/Long-sleeved_T-shirt) Long underwear (/wiki/Long_underwear) Longcloth (/wiki/Longcloth) Longyi (/wiki/Longyi) Lookbook (/wiki/Lookbook) Loom (/wiki/Loom) Loose socks (/wiki/Loose_socks) Lopapeysa (/wiki/Lopapeysa) Lord Anthony (/wiki/Lord_Anthony) Lorgnette (/wiki/Lorgnette) Lotus shoes (/wiki/Lotus_shoes) Love beads (/wiki/Love_beads) Low cut sock (/wiki/Low_cut_sock) Low-rise jeans (/wiki/Low-rise_jeans) Luckenbooth brooch (/wiki/Luckenbooth_brooch) Lugade (/wiki/Lugade) Luhkka (/wiki/Luhkka) Lungi (/wiki/Lungi) Lurex (yarn) (/wiki/Lurex_(yarn)) Lusekofte (/wiki/Lusekofte) Lux Style Award (/wiki/Lux_Style_Award) Lyocell (/wiki/Lyocell) M [ edit ] M-1941 Field Jacket (/wiki/M-1941_Field_Jacket) M-1951 field jacket (/wiki/M-1951_field_jacket) M-1965 field jacket (/wiki/M-1965_field_jacket) M42 jacket (/wiki/M42_jacket) M43 field cap (/wiki/M43_field_cap) MA-1 bomber jacket (/wiki/MA-1_bomber_jacket) MA-2 bomber jacket (/wiki/MA-2_bomber_jacket) Macaroni (fashion) (/wiki/Macaroni_(fashion)) Mackinaw cloth (/wiki/Mackinaw_cloth) Mackintosh (/wiki/Mackintosh) Macramé (/wiki/Macram%C3%A9) Made to measure (/wiki/Made_to_measure) Madiba shirt (/wiki/Madiba_shirt) Madisar (/wiki/Madisar) Madras (cloth) (/wiki/Madras_(cloth)) Madras (costume) (/wiki/Madras_(costume)) Magnetic boots (/wiki/Magnetic_boots) Magoja (/wiki/Magoja) Mahiole (/wiki/Mahiole) Mail (armour) (/wiki/Mail_(armour)) Maillot (/wiki/Maillot) Makarapa (/wiki/Makarapa) Malaysian batik (/wiki/Malaysian_batik) Malaysian cultural outfits (/wiki/Malaysian_cultural_outfits) Malaysian school uniform (/wiki/Malaysian_school_uniform) Male bra (/wiki/Male_bra) Malong (/wiki/Malong) Mandarin collar (/wiki/Mandarin_collar) Mandarin square (/wiki/Mandarin_square) Mangalsutra (/wiki/Mangalsutra) Manggeon (/wiki/Manggeon) MANGO Fashion Awards (/wiki/MANGO_Fashion_Awards) Mandilion (/wiki/Mandilion) Manila shawl (/wiki/Manila_shawl) Manillas (/wiki/Manillas) Maniple (vestment) (/wiki/Maniple_(vestment)) Manta (dress) (/wiki/Manta_(dress)) Mantelletta (/wiki/Mantelletta) Mantilla (/wiki/Mantilla) Mantle (clothing) (/wiki/Mantle_(clothing)) Mantle (vesture) (/wiki/Mantle_(vesture)) Mantua (clothing) (/wiki/Mantua_(clothing)) Mantyhose (/wiki/Mantyhose) Mao suit (/wiki/Mao_suit) Māori traditional textiles (/wiki/M%C4%81ori_traditional_textiles) Marcasite jewellery (/wiki/Marcasite_jewellery) Marcelling (/wiki/Marcelling) Maria Clara gown (/wiki/Maria_Clara_gown) Maroon beret (/wiki/Maroon_beret) Mask (/wiki/Mask) Mary Jane (shoe) (/wiki/Mary_Jane_(shoe)) Matchy-Matchy (/wiki/Matchy-Matchy) Matelassé (/wiki/Matelass%C3%A9) Maternity clothing (/wiki/Maternity_clothing) Matron's badge (/wiki/Matron%27s_badge) Mawashi (/wiki/Mawashi) Maxi dress (/wiki/Maxi_dress) Maya textiles (/wiki/Maya_textiles) Mechanical watch (/wiki/Mechanical_watch) Mechlin lace (/wiki/Mechlin_lace) Medical bag (/wiki/Medical_bag) Medical gloves (/wiki/Medical_gloves) Medical identification tag (/wiki/Medical_identification_tag) Medicine bag (/wiki/Medicine_bag) Medieval jewelry (/wiki/Medieval_jewelry) Mekhela chador (/wiki/Mekhela_chador) Men's skirts (/wiki/Men%27s_skirts) Mengu (Japanese facial armour) (/wiki/Mengu_(Japanese_facial_armour)) Mercerised cotton (/wiki/Mercerised_cotton) Merino (/wiki/Merino) Mesh (/wiki/Mesh) Mess dress (/wiki/Mess_dress) Mess jacket (/wiki/Mess_jacket) Messenger bag (/wiki/Messenger_bag) Metal corset (/wiki/Metal_corset) Metallic fiber (/wiki/Metallic_fiber) Mexican pointy boots (/wiki/Mexican_pointy_boots) Microfiber (/wiki/Microfiber) Microskirt (/wiki/Microskirt) Midriff (/wiki/Midriff) Milan Fashion Week (/wiki/Milan_Fashion_Week) Military beret (/wiki/Military_beret) Minaudière (/wiki/Minaudi%C3%A8re) Miner's apron (/wiki/Miner%27s_apron) Miner's cap (/wiki/Miner%27s_cap) Miner's habit (/wiki/Miner%27s_habit) Ming official headwear (/wiki/Ming_official_headwear) Mining helmet (/wiki/Mining_helmet) Miniskirt (/wiki/Miniskirt) Miniver (/wiki/Miniver) Mink (/wiki/Mink) Mirrored sunglasses (/wiki/Mirrored_sunglasses) Misanga (/wiki/Misanga) Mitre (/wiki/Mitre) Mitznefet (Israeli military) (/wiki/Mitznefet_(Israeli_military)) Mixed martial arts clothing (/wiki/Mixed_martial_arts_clothing) Mob cap (/wiki/Mob_cap) Mobile phone charm (/wiki/Mobile_phone_charm) Moccasin (/wiki/Moccasin) Mockado (/wiki/Mockado) Mod (subculture) (/wiki/Mod_(subculture)) Modacrylic (/wiki/Modacrylic) Modern dress (/wiki/Modern_dress) Modern girl (/wiki/Modern_girl) Modern Irish Army uniform (/wiki/Modern_Irish_Army_uniform) Modius (headdress) (/wiki/Modius_(headdress)) Mohair (/wiki/Mohair) Mohra (necklace) (/wiki/Mohra_(necklace)) Moire (fabric) (/wiki/Moire_(fabric)) Mojari (/wiki/Mojari) Mohawk hairstyle (/wiki/Mohawk_hairstyle) Moleskin (/wiki/Moleskin) Money bag (/wiki/Money_bag) Money belt (/wiki/Money_belt) Money clip (/wiki/Money_clip) Monk's cloth (/wiki/Monk%27s_cloth) Monk shoe (/wiki/Monk_shoe) Monkey jacket (/wiki/Monkey_jacket) Monmouth cap (/wiki/Monmouth_cap) Monocle (/wiki/Monocle) Monokini (/wiki/Monokini) Montefortino helmet (/wiki/Montefortino_helmet) Montenegrin cap (/wiki/Montenegrin_cap) Montera (/wiki/Montera) Montera picona (/wiki/Montera_picona) Moon Boot (/wiki/Moon_Boot) Mooskappe (/wiki/Mooskappe) Mordant (/wiki/Mordant) Morion (helmet) (/wiki/Morion_(helmet)) Morning dress (/wiki/Morning_dress) Morocco leather (/wiki/Morocco_leather) Morphsuits (/wiki/Morphsuits) Mother Hubbard dress (/wiki/Mother_Hubbard_dress) Motley (/wiki/Motley) Motorcycle boot (/wiki/Motorcycle_boot) Motoring hood (/wiki/Motoring_hood) Mountaineering boot (/wiki/Mountaineering_boot) Mounteere Cap (/wiki/Mounteere_Cap) Mourning (/wiki/Mourning) Muff (handwarmer) (/wiki/Muff_(handwarmer)) Mufti (dress) (/wiki/Mufti_(dress)) Mukluk (/wiki/Mukluk) Mule (footwear) (/wiki/Mule_(footwear)) Mullet (haircut) (/wiki/Mullet_(haircut)) Multi-Terrain Pattern (/wiki/Multi-Terrain_Pattern) Mundu (/wiki/Mundu) Mundum Neriyathum (/wiki/Mundum_Neriyathum) Muscadin (/wiki/Muscadin) Mushanana (/wiki/Mushanana) Muslin (/wiki/Muslin) Muu-muu (/wiki/Muu-muu) Myeonbok (/wiki/Myeonbok) Myeonje baegab (/wiki/Myeonje_baegab) Mysore Peta (/wiki/Mysore_Peta) N [ edit ] Nabedrennik (/wiki/Nabedrennik) Naga shawl (/wiki/Naga_shawl) Nainsook (/wiki/Nainsook) Nakshi kantha (/wiki/Nakshi_kantha) Namaksin (/wiki/Namaksin) Namba (clothing) (/wiki/Namba_(clothing)) Nambawi (/wiki/Nambawi) Nankeen (/wiki/Nankeen) Nanofiber (/wiki/Nanofiber) Nantucket Reds (/wiki/Nantucket_Reds) Nap (textile) (/wiki/Nap_(textile)) Napa leather (/wiki/Napa_leather) Nasal helmet (/wiki/Nasal_helmet) National costumes of Poland (/wiki/National_costumes_of_Poland) Nationella dräkten (/wiki/Nationella_dr%C3%A4kten) Native American jewelry (/wiki/Native_American_jewelry) Natural dye (/wiki/Natural_dye) Naturism (/wiki/Naturism) Natural fiber (/wiki/Natural_fiber) Nazi chic (/wiki/Nazi_chic) NBA dress code (/wiki/NBA_dress_code) Neck corset (/wiki/Neck_corset) Neck gaiter (/wiki/Neck_gaiter) Neck ring (/wiki/Neck_ring) Neckerchief (/wiki/Neckerchief) Necklace (/wiki/Necklace) Neckline (/wiki/Neckline) Necktie (/wiki/Necktie) Neckwear (/wiki/Neckwear) Needlepoint (/wiki/Needlepoint) Negligee (/wiki/Negligee) Nehru jacket (/wiki/Nehru_jacket) Neiman Marcus Fashion Award (/wiki/Neiman_Marcus_Fashion_Award) Nemes (/wiki/Nemes) Neoprene (/wiki/Neoprene) Net (textile) (/wiki/Net_(textile)) Netela (/wiki/Netela) Nettement Chic (/wiki/Nettement_Chic) New bespoke movement (/wiki/New_bespoke_movement) New Year's glasses (/wiki/New_Year%27s_glasses) New York Fashion Week (/wiki/New_York_Fashion_Week) Newsboy cap (/wiki/Newsboy_cap) Nightcap (garment) (/wiki/Nightcap_(garment)) Nightgown (/wiki/Nightgown) Nightshirt (/wiki/Nightshirt) Ninon (/wiki/Ninon) Niqāb (/wiki/Niq%C4%81b) Niqāb in Egypt (/wiki/Niq%C4%81b_in_Egypt) Noil (/wiki/Noil) Nón quai thao (/wiki/N%C3%B3n_quai_thao) Nonwoven fabric (/wiki/Nonwoven_fabric) Norigae (/wiki/Norigae) Norfolk jacket (/wiki/Norfolk_jacket) Nose-jewel (/wiki/Nose-jewel) Nose piercing (/wiki/Nose_piercing) Nosegay (/wiki/Nosegay) Nubuck (/wiki/Nubuck) Nurse uniform (/wiki/Nurse_uniform) Nurse's cap (/wiki/Nurse%27s_cap) Nursing bra (/wiki/Nursing_bra) Nylon (/wiki/Nylon) O [ edit ] Obi (martial arts) (/wiki/Obi_(martial_arts)) Obi (sash) (/wiki/Obi_(sash)) Obi-ita (/wiki/Obi-ita) Ochipok (/wiki/Ochipok) Ohaguro (/wiki/Ohaguro) Oilskin (/wiki/Oilskin) Olefin fiber (/wiki/Olefin_fiber) Omega chain (/wiki/Omega_chain) Omophor (/wiki/Omophor) One-piece swimsuit (/wiki/One-piece_swimsuit) Onesie (jumpsuit) (/wiki/Onesie_(jumpsuit)) Onnara (/wiki/Onnara) Opanak (/wiki/Opanak) Open-crotch pants (/wiki/Open-crotch_pants) Open drawers (/wiki/Open_drawers) Opera coat (/wiki/Opera_coat) Opinga (/wiki/Opinga) Orarion (/wiki/Orarion) Orenburg shawl (/wiki/Orenburg_shawl) Organ shoes (/wiki/Organ_shoes) Organdy (/wiki/Organdy) Organic clothing (/wiki/Organic_clothing) Organic cotton (/wiki/Organic_cotton) Organza (/wiki/Organza) Ostrich leather (/wiki/Ostrich_leather) Ottoman (textile) (/wiki/Ottoman_(textile)) Ottoman clothing (/wiki/Ottoman_clothing) Outerwear (/wiki/Outerwear) Oven glove (/wiki/Oven_glove) Over-the-knee boot (/wiki/Over-the-knee_boot) Overall (/wiki/Overall) Overcoat (/wiki/Overcoat) Overfrock (/wiki/Overfrock) Overskirt (/wiki/Overskirt) Oxford (cloth) (/wiki/Oxford_(cloth)) Oxford bags (/wiki/Oxford_bags) Oxford shoe (/wiki/Oxford_shoe) P [ edit ] Paambadam (/wiki/Paambadam) Paduasoy (/wiki/Paduasoy) Paduka (/wiki/Paduka) Paenula (/wiki/Paenula) Pageboy (/wiki/Pageboy) Pahlavi hat (/wiki/Pahlavi_hat) Pagri (turban) (/wiki/Pagri_(turban)) Paisley (design) (/wiki/Paisley_(design)) Paithani (/wiki/Paithani) Pajamas (/wiki/Pajamas) Pakistani clothing (/wiki/Pakistani_clothing) Pakol (/wiki/Pakol) Palazzo trousers (/wiki/Palazzo_trousers) Palestinian costumes (/wiki/Palestinian_costumes) Palla (garment) (/wiki/Palla_(garment)) Pallium (/wiki/Pallium) Paludamentum (/wiki/Paludamentum) Pampootie (/wiki/Pampootie) Panama hat (/wiki/Panama_hat) Pangi (Maroon) (/wiki/Pangi_(Maroon)) Panling Lanshan (/wiki/Panling_Lanshan) Pannier (clothing) (/wiki/Pannier_(clothing)) Pantalettes (/wiki/Pantalettes) Panties (/wiki/Panties) Pants (/wiki/Pants) Pantsuit (/wiki/Pantsuit) Panty line (/wiki/Panty_line) Pantyhose (/wiki/Pantyhose) Pantyhose for men (/wiki/Pantyhose_for_men) Papakhi (/wiki/Papakhi) Papal fanon (/wiki/Papal_fanon) Papal shoes (/wiki/Papal_shoes) Papal Slippers (/wiki/Papal_Slippers) Papal tiara (/wiki/Papal_tiara) Paper clothing (/wiki/Paper_clothing) Papoose (/wiki/Papoose) Parachute pants (/wiki/Parachute_pants) Paranja (/wiki/Paranja) Pareo (/wiki/Pareo) Paris Fashion Week (/wiki/Paris_Fashion_Week) Party dress (/wiki/Party_dress) Party hat (/wiki/Party_hat) Parure (/wiki/Parure) Pas kontuszowy (sash) (/wiki/Pas_kontuszowy_(sash)) Pasapali Sari (/wiki/Pasapali_Sari) Pashmina (/wiki/Pashmina) Pashtun dress (/wiki/Pashtun_dress) Pasiking (/wiki/Pasiking) Passementerie (/wiki/Passementerie) Pasties (/wiki/Pasties) Patchwork (/wiki/Patchwork) Patent leather (/wiki/Patent_leather) Patiala salwar (/wiki/Patiala_salwar) Patrol cap (/wiki/Patrol_cap) Patten (shoe) (/wiki/Patten_(shoe)) Pattern grading (/wiki/Pattern_grading) Pattern (sewing) (/wiki/Pattern_(sewing)) Pattu pavadai (/wiki/Pattu_pavadai) Pea coat (/wiki/Pea_coat) Peaked cap (/wiki/Peaked_cap) Pectoral (Ancient Egypt) (/wiki/Pectoral_(Ancient_Egypt)) Pectoral cross (/wiki/Pectoral_cross) Pedal pushers (/wiki/Pedal_pushers) Peep-toe shoe (/wiki/Peep-toe_shoe) Peineta (comb) (/wiki/Peineta_(comb)) Pelisse (/wiki/Pelisse) Pelvic protector (/wiki/Pelvic_protector) Pencil skirt (/wiki/Pencil_skirt) Pencil suit (/wiki/Pencil_suit) Pendilia (/wiki/Pendilia) Peplos (/wiki/Peplos) Peplum (/wiki/Overskirt) Peplum jacket (/wiki/Peplum_jacket) Perak (headdress) (/wiki/Perak_(headdress)) Peranakan beaded slippers (/wiki/Peranakan_beaded_slippers) Percale (/wiki/Percale) Persian clothing (/wiki/Persian_clothing) Persian embroidery (/wiki/Persian_embroidery) Persian weave (/wiki/Persian_weave) Personal Clothing System (/wiki/Personal_Clothing_System) Personal protective equipment (/wiki/Personal_protective_equipment) Peshawari chappal (/wiki/Peshawari_chappal) Petasos (/wiki/Petasos) Peter Pan collar (/wiki/Peter_Pan_collar) Petersham ribbon (/wiki/Petersham_ribbon) Petite size (/wiki/Petite_size) Petticoat (/wiki/Petticoat) Petticoat breeches (/wiki/Petticoat_breeches) Pettipants (/wiki/Pettipants) Phat pants (/wiki/Phat_pants) Phelonion (/wiki/Phelonion) Pheta (turban) (/wiki/Pheta_(turban)) Phoenix crown (/wiki/Phoenix_crown) Phra Kiao (/wiki/Phra_Kiao) Phrygian cap (/wiki/Phrygian_cap) Phrygian type helmet (/wiki/Phrygian_type_helmet) Phulkari (/wiki/Phulkari) Physical training uniform (/wiki/Physical_training_uniform) Piccadill (/wiki/Piccadill) Picot (/wiki/Picot) Pien Fu (/wiki/Pien_Fu) Pigtail (/wiki/Pigtail) Pile (textile) (/wiki/Pile_(textile)) Pile weave (/wiki/Pile_weave) Pileus (hat) (/wiki/Pileus_(hat)) Pilgrim's hat (/wiki/Pilgrim%27s_hat) Pill (textile) (/wiki/Pill_(textile)) Pillbox hat (/wiki/Pillbox_hat) Pima cotton (/wiki/Pima_cotton) Pin-back button (/wiki/Pin-back_button) Pin stripes (/wiki/Pin_stripes) Piña (/wiki/Pi%C3%B1a) Pinafore (/wiki/Pinafore) Pince-nez (/wiki/Pince-nez) Pinking shears (/wiki/Pinking_shears) Piping (sewing) (/wiki/Piping_(sewing)) Piqué (weaving) (/wiki/Piqu%C3%A9_(weaving)) Pith helmet (/wiki/Pith_helmet) Pixie cut (/wiki/Pixie_cut) Placket (/wiki/Placket) Plague doctor costume (/wiki/Plague_doctor_costume) Plaid (pattern) (/wiki/Plaid_(pattern)) Plain dress (/wiki/Plain_dress) Plain weave (/wiki/Plain_weave) Plastic clothing (/wiki/Plastic_clothing) Plastic pants (/wiki/Plastic_pants) Plate armour (/wiki/Plate_armour) Platform boot (/wiki/Platform_boot) Platform shoe (/wiki/Platform_shoe) Playsuit (children's clothing) (/wiki/Playsuit_(children%27s_clothing)) Playsuit (lingerie) (/wiki/Playsuit_(lingerie)) Pleat (/wiki/Pleat) Pledge pin (/wiki/Pledge_pin) Plimsoll shoe (/wiki/Plimsoll_shoe) Plus fours (/wiki/Plus_fours) Plus-size clothing (/wiki/Plus-size_clothing) Plush (/wiki/Plush) Po (clothing) (/wiki/Po_(clothing)) Pocket (/wiki/Pocket) Pocket protector (/wiki/Pocket_protector) Pocket watch (/wiki/Pocket_watch) Podvorotnichok (/wiki/Podvorotnichok) Poet shirt (/wiki/Poet_shirt) Point de Venise (/wiki/Point_de_Venise) Pointe shoe (/wiki/Pointe_shoe) Pointed hat (/wiki/Pointed_hat) Pointed shoe (/wiki/Pointed_shoe_(disambiguation)) Pointinini (/wiki/Pointinini) Poke bonnet (/wiki/Poke_bonnet) Polar fleece (/wiki/Polar_fleece) Police duty belt (/wiki/Police_duty_belt) Police uniforms and equipment in the United Kingdom (/wiki/Police_uniforms_and_equipment_in_the_United_Kingdom) Political t-shirt (/wiki/Political_t-shirt) Political uniform (/wiki/Political_uniform) Polka dot (/wiki/Polka_dot) Pollera (/wiki/Pollera) Polo neck (/wiki/Polo_neck) Polo shirt (/wiki/Polo_shirt) Polonaise (clothing) (/wiki/Polonaise_(clothing)) Polos (/wiki/Polos) Polyester (/wiki/Polyester) Polypropylene (/wiki/Polypropylene) Pom-pon (/wiki/Pom-pon) Pompadour (hairstyle) (/wiki/Pompadour_(hairstyle)) Poncho (/wiki/Poncho) Pongee (/wiki/Pongee) Pontifical vestments (/wiki/Pontifical_vestments) Ponytail (/wiki/Ponytail) Poodle skirt (/wiki/Poodle_skirt) Poplin (/wiki/Poplin) Pork pie hat (/wiki/Pork_pie_hat) Portmanteau (luggage) (/wiki/Portmanteau_(luggage)) Possum-skin cloak (/wiki/Possum-skin_cloak) POW bracelet (/wiki/POW_bracelet) Power dressing (/wiki/Power_dressing) Prairie skirt (/wiki/Prairie_skirt) Pram suit (/wiki/Pram_suit) Pratt knot (/wiki/Pratt_knot) Prayer shawl (/wiki/Prayer_cloth) Preppy (/wiki/Preppy) Presidential sash (/wiki/Presidential_sash) Priestly robe (Judaism) (/wiki/Priestly_robe_(Judaism)) Priestly sash (/wiki/Priestly_sash) Priestly tunic (/wiki/Priestly_tunic) Priestly turban (/wiki/Priestly_turban) Priestly undergarments (/wiki/Priestly_undergarments) Prince Albert piercing (/wiki/Prince_Albert_piercing) Princess seams (/wiki/Princess_seams) Printed T-shirt (/wiki/Printed_T-shirt) Printer's hat (/wiki/Printer%27s_hat) Prison uniform (/wiki/Prison_uniform) Privilège du blanc (/wiki/Privil%C3%A8ge_du_blanc) Provence (/wiki/Provence) Pteruges (/wiki/Pteruges) Pudding hat (/wiki/Pudding_hat) Puletasi (/wiki/Puletasi) Puneri Pagadi (/wiki/Puneri_Pagadi) Pungcha (/wiki/Pungcha) Purdah (/wiki/Purdah) Purse (/wiki/Wallet) Purse hook (/wiki/Purse_hook) Puttee (/wiki/Puttee) Q [ edit ] Qeleshe (/wiki/Qeleshe) Qing official headwear (/wiki/Qing_official_headwear) Quadrille dress (/wiki/Quadrille_dress) Queue (hairstyle) (/wiki/Queue_(hairstyle)) Quiff (/wiki/Quiff) Quilting (/wiki/Quilting) Quoit (brooch) (/wiki/Quoit_(brooch)) R [ edit ] Rabbit hair (/wiki/Rabbit_hair) Raccoon coat (/wiki/Raccoon_coat) Racing flat (/wiki/Racing_flat) Raffia palm (/wiki/Raffia_palm) Raglan sleeve (/wiki/Raglan_sleeve) Rah-rah skirt (/wiki/Rah-rah_skirt) Rain pants (/wiki/Rain_pants) Raincoat (/wiki/Raincoat) Raj pattern (/wiki/Raj_pattern) Rajshahi silk (/wiki/Rajshahi_silk) Rakusu (/wiki/Rakusu) Rally cap (/wiki/Rally_cap) Ramie (/wiki/Ramie) Randoseru (/wiki/Randoseru) Rash guard (/wiki/Rash_guard) Rastacap (/wiki/Rastacap) Rationale (clothing) (/wiki/Rationale_(clothing)) Rawhide (textile) (/wiki/Rawhide_(textile)) Rayadillo (/wiki/Rayadillo) Rayon (/wiki/Rayon) Ready-to-wear (/wiki/Ready-to-wear) Rebozo (/wiki/Rebozo) Recycling (/wiki/Recycling) Red beret (/wiki/Red_beret) Red carpet fashion (/wiki/Red_carpet_fashion) Red coat (British army) (/wiki/Red_coat_(British_army)) Red Sea rig (/wiki/Red_Sea_rig) Redingote (/wiki/Redingote) Redresseur corset (/wiki/Redresseur_corset) Reimiro (/wiki/Reimiro) Rekel (/wiki/Rekel) Religious attire (/wiki/Clothing#Religion) Religious clothing (/wiki/Religious_clothing) Religious habit (/wiki/Religious_habit) Resist dyeing (/wiki/Resist_dyeing) Resort wear (/wiki/Resort_wear) Reticella (/wiki/Reticella) Revers (/wiki/Revers) Reversible garment (/wiki/Reversible_garment) Rhinegraves (/wiki/Rhinegraves) Rhinestone (/wiki/Rhinestone) Ribbing (knitting) (/wiki/Ribbing_(knitting)) Ribbon (/wiki/Ribbon) Ribbon work (/wiki/Ribbon_work) Rickrack (/wiki/Rickrack) Riding boot (/wiki/Riding_boot) Riding habit (/wiki/Riding_habit) Riding Mac Fashion (/wiki/Riding_Mac_Fashion) Rigger boot (/wiki/Rigger_boot) Right to clothing (/wiki/Right_to_clothing) Riha (garment) (/wiki/Riha_(garment)) Rimless eyeglasses (/wiki/Rimless_eyeglasses) Ring (jewellery) (/wiki/Ring_(jewellery)) Ring size (/wiki/Ring_size) Ringer T-shirt (/w/index.php?title=Ringer_T-shirt&action=edit&redlink=1) Ringlet (haircut) (/wiki/Ringlet_(haircut)) Ripstop (/wiki/Ripstop) Roach (headdress) (/wiki/Roach_(headdress)) Robe (/wiki/Robe) Robe de style (/wiki/Robe_de_style) Rochet (/wiki/Rochet) Rocker bottom shoe (/wiki/Rocker_bottom_shoe) Rogatywka (/wiki/Rogatywka) Roller printing on textiles (/wiki/Roller_printing_on_textiles) Roller shoes (/wiki/Roller_shoes) Roller skate (/wiki/Roller_skate) Romanian dress (/wiki/Romanian_dress) Romper suit (/wiki/Romper_suit) Rondel (armour) (/wiki/Rondel_(armour)) Rosemount Ski Boots (/wiki/Rosemount_Ski_Boots) Royal Air Force uniform (/wiki/Royal_Air_Force_uniform) Royal Navy uniform (/wiki/Royal_Navy_uniform) Ruby slippers (/wiki/Ruby_slippers) Ruana (/wiki/Ruana) Rubber glove (/wiki/Rubber_glove) Rubber pants (/wiki/Rubber_pants) Ruff (clothing) (/wiki/Ruff_(clothing)) Ruffle (sewing) (/wiki/Ruffle_(sewing)) Rugby shirt (/wiki/Rugby_shirt) Rugby shorts (/wiki/Rugby_shorts) Rugby socks (/wiki/Rugby_socks) Rumāl (/wiki/Rum%C4%81l) Running shorts (/wiki/Running_shorts) Ruqun (/wiki/Ruqun) Russian boot (/wiki/Russian_boot) S [ edit ] Sabaton (/wiki/Sabaton) Sable (/wiki/Sable) Sabot (shoe) (/wiki/Sabot_(shoe)) Sabretache (/wiki/Sabretache) Sack-back gown (/wiki/Sack-back_gown) Saddle shoe (/wiki/Saddle_shoe) Saekdongot (/wiki/Saekdongot) Safari jacket (/wiki/Safari_jacket) Safari suit (/wiki/Safari_suit) Sagging (fashion) (/wiki/Sagging_(fashion)) Sagum (/wiki/Sagum) Sagyusam (/wiki/Sagyusam) Sailcloth (/wiki/Sailcloth) Sailor cap (/wiki/Sailor_cap) Sailor suit (/wiki/Sailor_suit) Šajkača (/wiki/%C5%A0ajka%C4%8Da) Sakkos (/wiki/Sakkos) Salako (/wiki/Salako) Salakot (/wiki/Salakot) Sallet (/wiki/Sallet) Saltwater sandals (/wiki/Saltwater_sandals) Sam Browne belt (/wiki/Sam_Browne_belt) Sambalpuri saree (/wiki/Sambalpuri_saree) Samite (/wiki/Samite) Sampot (/wiki/Sampot) Sampot Samloy (/wiki/Sampot_Samloy) Samue (/wiki/Samue) Sanbenito (/wiki/Sanbenito) Sandal (/wiki/Sandal) Sanforization (/wiki/Sanforization) Sangu (armour) (/wiki/Sangu_(armour)) Sans-culottes (/wiki/Sans-culottes) Santa suit (/wiki/Santa_suit) Sarafan (/wiki/Sarafan) Saran (plastic) (/wiki/Saran_(plastic)) Sari (/wiki/Sari) Sarong (/wiki/Sarong) Sarpech (/wiki/Sarpech) Sash (/wiki/Sash) Satchel (bag) (/wiki/Satchel_(bag)) Sateen (/wiki/Sateen) Satin (/wiki/Satin) Satin weave (/wiki/Satin_weave) Satlada (/wiki/Satlada) Sauna suit (/wiki/Sauna_suit) Savile Row (/wiki/Savile_Row) Sbai (/wiki/Sbai) Scapular (/wiki/Scapular) Scarf (/wiki/Scarf) School uniform (/wiki/School_uniform) School uniforms in England (/wiki/School_uniforms_in_England) School uniforms in Sri Lanka (/wiki/School_uniforms_in_Sri_Lanka) Scissors-glasses (/wiki/Scissors-glasses) Scogger (/wiki/Scogger) Scoop neck (/wiki/Scoop_neck) Scrambled egg (uniform) (/wiki/Scrambled_egg_(uniform)) Screen printing (/wiki/Screen_printing) Scrimmage vest (/wiki/Scrimmage_vest) Scrubs (clothing) (/wiki/Scrubs_(clothing)) Scrum cap (/wiki/Scrum_cap) Scrunchie (/wiki/Scrunchie) Sea silk (/wiki/Sea_silk) Seaboot (/wiki/Seaboot) See-through clothing (/wiki/See-through_clothing) Seersucker (/wiki/Seersucker) Sehra (/wiki/Sehra_(headdress)) Selburose (/wiki/Selburose) Self-fabric (/wiki/Self-fabric) Selvage (/wiki/Selvage) Semi-formal (/wiki/Semi-formal) Senegalese kaftan (/wiki/Senegalese_kaftan) Senninbari (/wiki/Senninbari) Sennit (/wiki/Sennit) Senufo Bird (/wiki/Senufo_Bird) Sequin (/wiki/Sequin) Serape (/wiki/Serape) Serbian national costume (/wiki/Serbian_national_costume) Serge (/wiki/Serge_(fabric)) Sericin (/wiki/Sericin) Set-saree (/wiki/Set-saree) Setesdalsbunad (/wiki/Setesdalsbunad) Sgian-dubh (/wiki/Sgian-dubh) Shadbelly (/wiki/Shadbelly) Shagreen (/wiki/Shagreen) Shahmina (/wiki/Shahmina) Shahtoosh (/wiki/Shahtoosh) Shako (/wiki/Shako) Shalwar kameez (/wiki/Shalwar_kameez) Shalu (sari) (/wiki/Shalu_(sari)) Shahmina (/wiki/Shahmina) Shank (footwear) (/wiki/Shank_(footwear)) Sharkskin (/wiki/Sharkskin) Sharovary (/wiki/Sharovary) Shawl (/wiki/Shawl) Shearling (/wiki/Shearling) Shearling coat (/wiki/Shearling_coat) Sheath dress (/wiki/Sheath_dress) Sheepskin (/wiki/Sheepskin) Sheepskin boots (/wiki/Sheepskin_boots) Sheer fabric (/wiki/Sheer_fabric) Sheitel (/wiki/Sheitel) Shell cordovan (/wiki/Shell_cordovan) Shell gorget (/wiki/Shell_gorget) Shell jacket (/wiki/Shell_jacket) Shell stitch (/wiki/Shell_stitch) Shendyt (/wiki/Shendyt) Shenyi (/wiki/Shenyi) Sherwani (/wiki/Sherwani) Shetland wool (/wiki/Shetland_wool) Shingle bob (/wiki/Shingle_bob) Shinobi shōzoku (/wiki/Shinobi_sh%C5%8Dzoku) Shiraro (/wiki/Shiraro) Shirizaya (/wiki/Shirizaya) Shirring (/wiki/Shirring) Shirt (/wiki/Shirt) Shirt stays (/wiki/Shirt_stays) Shirt stud (/wiki/Shirt_stud) Shirtdress (/wiki/Shirtdress) Shisha (embroidery) (/wiki/Shisha_(embroidery)) Shitagi (/wiki/Shitagi) Shmarjet (/wiki/Shmarjet) Shoe (/wiki/Shoe) Shoe buckle (/wiki/Shoe_buckle) Shoe size (/wiki/Shoe_size) Shoe tree (/wiki/Shoe_tree_(device)) Shoehorn (/wiki/Shoehorn) Shoelace knot (/wiki/Shoelace_knot) Shoelaces (/wiki/Shoelaces) Shoemaking (/wiki/Shoemaking) Shorts (/wiki/Shorts) Shot silk (/wiki/Shot_silk) Shoulder pads (fashion) (/wiki/Shoulder_pads_(fashion)) Shoulder strap (/wiki/Shoulder_strap) Shower cap (/wiki/Shower_cap) Shpitzel (/wiki/Shpitzel) Shrug (clothing) (/wiki/Shrug_(clothing)) Shtreimel (/wiki/Shtreimel) Shutter Shades (/wiki/Shutter_Shades) Shweshwe (/wiki/Shweshwe) Šibenik cap (/wiki/%C5%A0ibenik_cap) Side cap (/wiki/Side_cap) Sign language glove (/wiki/Sign_language_glove) Sikh chola (/wiki/Sikh_chola) Silambu (/wiki/Silambu) Silhouette (/wiki/Silhouette) Silk (/wiki/Silk) Simar (/wiki/Simar) Sindhi cap (/wiki/Sindhi_cap) Single-breasted (/wiki/Single-breasted) Sirwal (/wiki/Sirwal) Sisal (/wiki/Sisal) Size zero (/wiki/Size_zero) Skate shoes (/wiki/Skate_shoes) Skeleton suit (/wiki/Skeleton_suit) Ski boot (/wiki/Ski_boot) Ski helmet (/wiki/Ski_helmet) Ski suit (/wiki/Ski_suit) Skirt (/wiki/Skirt) Skort (/wiki/Skort) Skufia (/wiki/Skufia) Slap bracelet (/wiki/Slap_bracelet) Sleeve (/wiki/Sleeve) Sleeve garter (/wiki/Sleeve_garter) Sleeved blanket (/wiki/Sleeved_blanket) Sleeveless shirt (/wiki/Sleeveless_shirt) Slide (footwear) (/wiki/Slide_(footwear)) Slim-fit pants (/wiki/Slim-fit_pants) Sling bag (/wiki/Sling_bag) Slingback (/wiki/Slingback) Slip (clothing) (/wiki/Slip_(clothing)) Slip-on shoe (/wiki/Slip-on_shoe) Slipper (/wiki/Slipper) Slouch hat (/wiki/Slouch_hat) Slouch socks (/wiki/Slouch_socks) Small knot (/wiki/Small_knot) Smart casual (/wiki/Smart_casual) Smock-frock (/wiki/Smock-frock) Smock Parachutist DPM (/wiki/Smock_Parachutist_DPM) Smocking (/wiki/Smocking) Smoking cap (/wiki/Smoking_cap) Smoking jacket (/wiki/Smoking_jacket) Snap fastener (/wiki/Snap_fastener) Snapback (hat) (/wiki/Snapback_(hat)) Sneakers (/wiki/Sneakers) Sneaker collecting (/wiki/Sneaker_collecting) Snood (headgear) (/wiki/Snood_(headgear)) Snow boot (/wiki/Snow_boot) Snowmobile suit (/wiki/Snowmobile_suit) Snowshoe (/wiki/Snowshoe) Social impact of thong underwear (/wiki/Social_impact_of_thong_underwear) Sock (/wiki/Sock) Sokutai (/wiki/Sokutai) Sombrero (/wiki/Sombrero) Sombrero calañés (/wiki/Sombrero_cala%C3%B1%C3%A9s) Sombrero cordobés (/wiki/Sombrero_cordob%C3%A9s) Sombrero de catite (/wiki/Sombrero_de_catite) Sombrero Vueltiao (/wiki/Sombrero_Vueltiao) Sonepuri Sari (/wiki/Sonepuri_Sari) Song official headwear (/wiki/Song_official_headwear) Songket (/wiki/Songket) Songkok (/wiki/Songkok) Soutache (/wiki/Soutache) South American fashion (/wiki/South_American_fashion) Spaghetti strap (/wiki/Spaghetti_strap) Spandex (/wiki/Spandex) Spangenhelm (/wiki/Spangenhelm) Spanish breeches (/wiki/Spanish_breeches) Spats (footwear) (/wiki/Spats_(footwear)) Spectator shoe (/wiki/Spectator_shoe) Speedsuit (/wiki/Speedsuit) Spencer (clothing) (/wiki/Spencer_(clothing)) Spinning (textiles) (/wiki/Spinning_(textiles)) Splittermuster (/wiki/Splittermuster) Spodik (/wiki/Spodik) Spool heel (/wiki/Spool_heel) Spoon busk (/wiki/Spoon_busk) Sporran (/wiki/Sporran) Sport coat (/wiki/Sport_coat) Sports bra (/wiki/Sports_bra) Sports visor (/wiki/Sports_visor) Sportswear (activewear) (/wiki/Sportswear_(activewear)) Sportswear (fashion) (/wiki/Sportswear_(fashion)) Sprang (/wiki/Sprang) Spur (/wiki/Spur) Square academic cap (/wiki/Square_academic_cap) Square leg suit (/wiki/Square_leg_suit) Stab vest (/wiki/Stab_vest) Starter jacket (/wiki/Starter_jacket) Station wear (/wiki/Station_wear) Steek (/wiki/Steek) Steel-toe boot (/wiki/Steel-toe_boot) Stetson (/wiki/Stetson) Sticharion (/wiki/Sticharion) Stiletto heel (/wiki/Stiletto_heel) Stirrup pants (/wiki/Stirrup_pants) Stock tie (/wiki/Stock_tie) Stocking (/wiki/Stocking) Stola (/wiki/Stola) Stole (shawl) (/wiki/Stole_(shawl)) Stole (vestment) (/wiki/Stole_(vestment)) Stomacher (/wiki/Stomacher) Stormy Kromer cap (/wiki/Stormy_Kromer_cap) Strap (/wiki/Strap) Strapless dress (/wiki/Strapless_dress) Straw (/wiki/Straw) Straw hat (/wiki/Straw_hat) Street style (/wiki/Street_style) Streetwear (/wiki/Streetwear) String bag (/wiki/String_bag) Stripweave (/wiki/Stripweave) Stroller (style) (/wiki/Stroller_(style)) Student boilersuit (/wiki/Student_boilersuit) Student cap (/wiki/Student_cap) Stump sock (/wiki/Stump_sock) Style line (/wiki/Style_line) Style tribe (/wiki/Style_tribe) Šubara (/wiki/%C5%A0ubara) Subligaculum (/wiki/Subligaculum) Suea khrui (/wiki/Suea_khrui) Suede (/wiki/Suede) Suit (clothing) (/wiki/Suit_(clothing)) Sumptuary law (/wiki/Sumptuary_law) Sun hat (/wiki/Sun_hat) Sundress (/wiki/Sundress) Sunglasses (/wiki/Sunglasses) Supermodel (/wiki/Supermodel) Surcingle belt (/wiki/Surcingle_belt) Surcoat (/wiki/Surcoat) Surplice (/wiki/Surplice) Surtout (/wiki/Surtout) Suspenders (/wiki/Suspenders) Sustainable fashion (/wiki/Sustainable_fashion) Swaddling (/wiki/Swaddling) Sweater (/wiki/Sweater) Sweater design (/wiki/Sweater_design) Sweater girl (/wiki/Sweater_girl) Sweater vest (/wiki/Sweater_vest) Sweatpants (/wiki/Sweatpants) Swedish goggles (/wiki/Swedish_goggles) Swedish military uniforms (/wiki/Swedish_military_uniforms) Swim briefs (/wiki/Swim_briefs) Swim cap (/wiki/Swim_cap) Swim diaper (/wiki/Swim_diaper) Swimsuit (/wiki/Swimsuit) Synthesis (clothing) (/wiki/Synthesis_(clothing)) T [ edit ] T-bar sandal (/wiki/T-bar_sandal) T-shirt (/wiki/T-shirt) T-skirt (/wiki/T-skirt) Ta'ovala (/wiki/Ta%27ovala) Tabard (/wiki/Tabard) Tabi (/wiki/Tabi) Tactical pants (/wiki/Tactical_pants) Taffeta (/wiki/Taffeta) Tagelmust (/wiki/Tagelmust) Tailcoat (/wiki/Tailcoat) Tainia (costume) (/wiki/Tainia_(costume)) Takchita (/wiki/Takchita) Tallit (/wiki/Tallit) Tally (cap) (/wiki/Tally_(cap)) Tam o' Shanter (cap) (/wiki/Tam_o%27_Shanter_(cap)) Tambour lace (/wiki/Tambour_lace) Tan beret (/wiki/Tan_beret) Tang official headwear (/wiki/Tang_official_headwear) Tanga (clothing) (/wiki/Tanga_(clothing)) Tanggeon (/wiki/Tanggeon) Tangzhuang (/wiki/Tangzhuang) Tanker boot (/wiki/Tanker_boot) Tankini (/wiki/Tankini) Tantour (/wiki/Tantour) Tap pants (/wiki/Tap_pants) Tapa cloth (/wiki/Tapa_cloth) Tapestry crochet (/wiki/Tapestry_crochet) Tapis (Philippine clothing) (/wiki/Tapis_(Philippine_clothing)) Taqiyah (cap) (/wiki/Taqiyah_(cap)) Taranga (clothing) (/wiki/Taranga_(clothing)) Tartan (/wiki/Tartan) Tassel (/wiki/Tassel) Tatami (Japanese armour) (/wiki/Tatami_(Japanese_armour)) Tatting (/wiki/Tatting) Tattooing (/wiki/Tattooing) Tau robe (/wiki/Tau_robe) Tea gown (/wiki/Tea_gown) Teddy (garment) (/wiki/Teddy_(garment)) Tēfui (/wiki/T%C4%93fui) Telnyashka (/wiki/Telnyashka) Telogreika (/wiki/Telogreika) Tembel hat (/wiki/Tembel_hat) Temple garment (/wiki/Temple_garment) Temple ring (/wiki/Temple_ring) Temple robes (/wiki/Temple_robes) Teneriffe lace (/wiki/Teneriffe_lace) Tengura (/wiki/Tengura) Tent dress (/wiki/Tent_dress) Terrycloth (/wiki/Terrycloth) Textile printing (/wiki/Textile_printing) Textiles and dresses of Assam (/wiki/Textiles_and_dresses_of_Assam) Thaar (/wiki/Thaar) Thai fisherman pants (/wiki/Thai_fisherman_pants) Thali necklace (/wiki/Thali_necklace) Thawb (/wiki/Thawb) Théâtre de la Mode (/wiki/Th%C3%A9%C3%A2tre_de_la_Mode) Thigh-high boots (/wiki/Thigh-high_boots) Third jersey (/wiki/Third_jersey) Thong (/wiki/Thong) Thracian clothing (/wiki/Thracian_clothing) Thread count (/wiki/Thread_count) Three quarter pants (/wiki/Three_quarter_pants) Throwback uniform (/wiki/Throwback_uniform) Tiara (/wiki/Tiara) Tichel (/wiki/Tichel) Tie chain (/wiki/Tie_chain) Tie clip (/wiki/Tie_clip) Tie-dye (/wiki/Tie-dye) Tie pin (/wiki/Tie_pin) Tiger-head shoes (/wiki/Tiger-head_shoes) Tigerstripe (/wiki/Tigerstripe) Tight trousers (/wiki/Tight_trousers) Tightlacing (/wiki/Tightlacing) Tights (/wiki/Tights) Tignon (/wiki/Tignon) Tilfi (/wiki/Tilfi) Tilmàtli (/wiki/Tilm%C3%A0tli) Timeline of clothing and textiles technology (/wiki/Timeline_of_clothing_and_textiles_technology) Tippet (/wiki/Tippet) Titovka (cap) (/wiki/Titovka_(cap)) Tobi trousers (/wiki/Tobi_trousers) Toe cleavage (/wiki/Toe_cleavage) Toe tights (/wiki/Toe_tights) Toe socks (/wiki/Toe_socks) Toego (/wiki/Toego) Toga (/wiki/Toga) Toile (/wiki/Toile) Tokin (headwear) (/wiki/Tokin_(headwear)) Tønder lace (/wiki/T%C3%B8nder_lace) Tonsure (/wiki/Tonsure) Top (clothing) (/wiki/Top_(clothing)) Top hat (/wiki/Top_hat) Topee (/wiki/Topee) Topi (cap) (/wiki/Dhaka_topi) Topi (disambiguation) (/wiki/Pith_helmet) Topor (headgear) (/wiki/Topor_(headgear)) Toque (/wiki/Toque) Torc (/wiki/Torc) Torchon lace (/wiki/Torchon_lace) Torsolette (/wiki/Torsolette) Tote bag (/wiki/Tote_bag) Toupée (/wiki/Toup%C3%A9e) Toupha (/wiki/Toupha) Trabea (/wiki/Trabea) Tracht (/wiki/Tracht) Track spikes (/wiki/Track_spikes) Tracksuit (/wiki/Tracksuit) Trading jacket (/wiki/Trading_jacket) Traditional Albanian clothing (/wiki/Traditional_Albanian_clothing) Traditional dyes of the Scottish Highlands (/wiki/Traditional_dyes_of_the_Scottish_Highlands) Traditional Welsh costume (/wiki/Traditional_Welsh_costume) Train (clothing) (/wiki/Train_(clothing)) Training bra (/wiki/Training_bra) Training corset (/wiki/Training_corset) Traje de flamenca (/wiki/Traje_de_flamenca) Traje de luces (/wiki/Traje_de_luces) Trapper (ice hockey) (/wiki/Trapper_(ice_hockey)) Trashion (/wiki/Trashion) Träskor (/wiki/Tr%C3%A4skor) Travel pack (/wiki/Travel_pack) Tregging (/wiki/Tregging) Trench boot (/wiki/Trench_boot) Trench coat (/wiki/Trench_coat) Tressoir (/wiki/Tressoir) Trews (/wiki/Trews) Tricana poveira (/wiki/Tricana_poveira) Trickle-up fashion (/wiki/Trickle-up_fashion) Tricorne (/wiki/Tricorne) Triglavka 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(/wiki/Uniforms_of_the_Singapore_Police_Force) Union suit (/wiki/Union_suit) Unisex clothing (/wiki/Unisex_clothing) Unit Colour Patch (/wiki/Unit_Colour_Patch) Unitard (/wiki/Unitard) Updo (/wiki/Updo) Upturned collar (/wiki/Upturned_collar) US standard clothing size (/wiki/US_standard_clothing_size) Usekh collar (/wiki/Usekh_collar) Ushanka (/wiki/Ushanka) Utility clothing (/wiki/Utility_clothing) Utility cover (/wiki/Utility_cover) Uttariya (/wiki/Uttariya) Uwa-obi (/wiki/Uwa-obi) Uwabaki (/wiki/Uwabaki) Uwagi (/wiki/Uwagi) V [ edit ] Valenciennes lace (/wiki/Valenciennes_lace) Valenki (/wiki/Valenki) Vambrace (/wiki/Vambrace) Vanity sizing (/wiki/Vanity_sizing) Vat dye (/wiki/Vat_dye) Veil (/wiki/Veil) Veilkini (/wiki/Veilkini) Velcro (/wiki/Velcro) Veldskoen (/wiki/Veldskoen) Velour (/wiki/Velour) Velvet (/wiki/Velvet) Velveteen (/wiki/Velveteen) Venetian style shoe (/wiki/Venetian_style_shoe) Vent (tailoring) (/wiki/Vent_(tailoring)) Vest (/wiki/Vest) Vestment (/wiki/Vestment) 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(/wiki/Windsor_uniform) Wine country casual (/wiki/Wine_country_casual) Wings (haircut) (/wiki/Wings_(haircut)) Winklepicker (/wiki/Winklepicker) Woggle (/wiki/Woggle) Women wearing pants (/wiki/Women_wearing_pants) Women's clothing in China (/wiki/Women%27s_clothing_in_China) Women's oversized fashion in the United States since the 1920s (/wiki/Women%27s_oversized_fashion_in_the_United_States_since_the_1920s) Wonju (Bhutan) (/wiki/Wonju_(Bhutan)) Wonsam (/wiki/Wonsam) Woodblock printing on textiles (/wiki/Woodblock_printing_on_textiles) Wool (/wiki/Wool) Wörishofer (/wiki/W%C3%B6rishofer) World War II German uniform (/wiki/World_War_II_German_uniform) Worsted (/wiki/Worsted) Woven fabric (/wiki/Woven_fabric) Wrap (clothing) (/wiki/Wrap_(clothing)) Wrap dress (/wiki/Wrap_dress) Wrapper (clothing) (/wiki/Wrapper_(clothing)) Wreath (attire) (/wiki/Wreath_(attire)) Wrestling shoe (/wiki/Wrestling_shoe) Wrestling singlet (/wiki/Wrestling_singlet) Wristband (/wiki/Wristband) X [ edit ] Xhaqete (/wiki/Xhaqete) Y [ edit ] Yak lace (/wiki/Yak_lace) Yanggwan (/wiki/Yanggwan) Yarn (/wiki/Yarn) Yashmak (/wiki/Yashmak) Yếm (/wiki/Y%E1%BA%BFm) Yoga pants (/wiki/Yoga_pants) Yoke (clothing) (/wiki/Yoke_(clothing)) Yuanlingshan (/wiki/Yuanlingshan) Yukata (/wiki/Yukata) Z [ edit ] Zardozi (/wiki/Zardozi) Zari (/wiki/Zari) Zazou (/wiki/Zazou) Zentai (/wiki/Zentai) Zephyr (garment) (/wiki/Zephyr_(garment)) Zephyr cloth (/wiki/Zephyr_cloth) Zephyrina Jupon (/wiki/Zephyrina_Jupon) Zhiduo (clothing) (/wiki/Zhiduo_(clothing)) Zibellino (/wiki/Zibellino) Zierscheibe (/wiki/Zierscheibe) Zipper (/wiki/Zipper) Zone (vestment) (/wiki/Zone_(vestment)) Zonnar (/wiki/Zunnar) Zoot suit (/wiki/Zoot_suit) Zōri (/wiki/Z%C5%8Dri) Zoster (costume) (/wiki/Zoster_(costume)) Zouave (/wiki/Zouave) Zouave jacket (/wiki/Zouave_jacket) Zucchetto (/wiki/Zucchetto) Żupan (/wiki/%C5%BBupan) Zuria (/wiki/Zuria) See also [ edit ] List of grands couturiers (/wiki/List_of_grands_couturiers) v t e Fashion (/wiki/Fashion) articles Index of fashion articles General Environmental impact of fashion (/wiki/Environmental_impact_of_fashion) Fashion accessory (/wiki/Fashion_accessory) Fashion design (/wiki/Fashion_design) Fashion design copyright (/wiki/Fashion_design_copyright) Fashion matrix (/wiki/Fashion_matrix) Fashion museum (/wiki/Fashion_museum) Fashion plate (/wiki/Fashion_plate) Fashion tourism (/wiki/Fashion_tourism) Semiotics of fashion (/wiki/Semiotics_of_fashion) History (/wiki/History_of_fashion_design) History of clothing and textiles (/wiki/History_of_clothing_and_textiles) History of Western fashion (/wiki/History_of_Western_fashion) History of fashion design (/wiki/History_of_fashion_design) Timeline of clothing and textiles technology (/wiki/Timeline_of_clothing_and_textiles_technology) 19th century (/wiki/19th_century_in_fashion) 21st century (/wiki/21st_century_in_fashion) Events (/wiki/List_of_fashion_events) Fashion show (/wiki/Fashion_show) Fashion week 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clothing Ceremonial (/wiki/Ceremonial_dress) Court (/wiki/Court_dress) Diplomatic (/wiki/Diplomatic_uniform) Academic (/wiki/Academic_dress) Military (/wiki/Military_uniform) Full (/wiki/Full_dress_uniform) Mess (/wiki/Mess_dress_uniform) Service (/wiki/Service_dress_uniform) Sailor (/wiki/Sailor_suit) Combat (/wiki/Combat_uniform) Folk (/wiki/Folk_costume) Western dress codes (/wiki/Western_dress_codes) Formal (/wiki/Formal_wear) Morning dress (/wiki/Morning_dress) White tie (/wiki/White_tie) Ball gown (/wiki/Ball_gown) Semi-formal (/wiki/Semi-formal_wear) Black lounge suit (/wiki/Black_lounge_suit) Black tie (/wiki/Black_tie) Evening gown (/wiki/Evening_gown) Informal (/wiki/Informal_wear) Suit (/wiki/Suit) Cocktail dress (/wiki/Cocktail_dress) Pantsuit (/wiki/Pantsuit) Religious (/wiki/Religious_clothing) Christian (/wiki/Christian_clothing) Jewish (/wiki/Jewish_religious_clothing) Islamic (/wiki/Islamic_fashion) Modest fashion (/wiki/Modest_fashion) Casual (/wiki/Casual_wear) Smart 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Reconstructed clothing at a fashion show. Part of a series (/wiki/Category:Clothing_and_the_environment) on Clothing and the environment Environmental impact of fashion (/wiki/Environmental_impact_of_fashion) Key issues Cotton industry (/wiki/Cotton_industry) Ecological footprint (/wiki/Ecological_footprint) Fast fashion (/wiki/Fast_fashion) Fur trade (/wiki/Fur_trade) Global trade of secondhand clothing (/wiki/Global_trade_of_secondhand_clothing) Impact investing (/wiki/Impact_investing) Microplastics (/wiki/Microplastics) Textile performance (/wiki/Textile_performance) By type Cashmere (/wiki/Cashmere_wool#Criticism_of_industry) Fur farming (/wiki/Environmental_impacts_of_fur_farming) Leather (/wiki/Environmental_impact_of_leather) Sustainability Anti-fashion (/wiki/Anti-fashion) Biodegradable athletic footwear (/wiki/Biodegradable_athletic_footwear) Circular fashion (/wiki/Circular_fashion) Clothing swap (/wiki/Clothing_swap) Cotton recycling (/wiki/Cotton_recycling) Environmental design (/wiki/Environmental_design) Environmental impact design (/wiki/Environmental_impact_design) Green textile (/wiki/Green_textile) Public interest design (/wiki/Public_interest_design) Organic cotton (/wiki/Organic_cotton) Reconstructed clothing Slow fashion (/wiki/Slow_fashion) Socially responsible investing (/wiki/Socially_responsible_investing) Sustainable (/wiki/Sustainability) Advertising (/wiki/Sustainable_advertising) Design (/wiki/Sustainable_design) Fashion (/wiki/Sustainable_fashion) Industries (/wiki/Sustainable_industries) Market (/wiki/Sustainable_market) Procurement (/wiki/Sustainable_procurement) Transport (/wiki/Sustainable_transport) Textile recycling (/wiki/Textile_recycling) Sustainability of vintage fashion (/wiki/Environmental_sustainability_of_vintage_fashion) Trashion (/wiki/Trashion) Zero-waste fashion (/wiki/Zero-waste_fashion) Related Business ethics (/wiki/Business_ethics) Green marketing (/wiki/Green_marketing) RiverBlue (/wiki/RiverBlue) The True Cost (/wiki/The_True_Cost) Environmental record of Nike (/wiki/Nike,_Inc.#Environmental_record) Ecological design (/wiki/Ecological_design) Laundry wastewater (/wiki/Laundry_wastewater) Vintage clothing (/wiki/Vintage_clothing) Fashion portal (/wiki/Portal:Fashion) Environment portal (/wiki/Portal:Environment) v t e Reconstructed clothing is used or vintage clothing (/wiki/Vintage_clothing) that has been redesigned (/wiki/Fashion_design) and resewn (/wiki/Sewing) into a new garment. [1] (#cite_note-pdi-1) Reconstructed clothing (/wiki/Clothing) became trendy (/wiki/Fashion_trends) in the mid-2000s (/wiki/2000s_in_fashion) . [1] (#cite_note-pdi-1) During this first wave of trend, Generation T (2006), which gave instructions for "108 Ways to Transform a T-Shirt (/wiki/T-Shirt) ," was published. [2] (#cite_note-2) The book included instructions for how to make halter tops (/wiki/Halter_top) , A-line skirts (/wiki/A-line_skirt) , and string bikinis (/wiki/Bikini) out of T-shirts. In 2008, Nicolay released another book entitled: Generation T-Beyond Fashion 120 More Ways to Transform Your T's . This book had a bigger variety of projects including ones for children, men, and even pets. In March 2006, the DIY group Compai released their first DIY clothing reconstruction book, 99 Ways to Cut, Sew, Trim, and Tie Your T-shirt Into Something Fabulous! After this book's release, Compai went on to release three more books about reconstructing jeans, sweaters and scarves. Towards the latter half of the 2010s, reconstructed clothing gained traction in high fashion circles, with brands like RE/DONE and Vetements leading the way in popularizing jeans crafted from vintage denim. Marine Serre (/wiki/Marine_Serre) , winner of the 2017 LVMH (/wiki/LVMH) prize for young designers, pledges a minimum of 50% of her collections consist of reconstructed clothing. [3] (#cite_note-3) New York brand BODE (/wiki/Bode_(fashion_brand)) has from its 2016 inception focused on pieces reconstructed from vintage or antique textiles such as quilts, tablecloths, lace doilies, and oven mitts. [4] (#cite_note-4) Reconstructed clothing is appealing because it allows the designer to "stamp [their ideas] into an existing piece...and come up with a totally different piece" and because it makes the wearer's clothing unique. [1] (#cite_note-pdi-1) References [ edit ] ^ Jump up to: a b c De la Paz, Gino. "If It's Worth It, Then Rework It." Philippine Daily Inquirer (November 13, 2004). ^ (#cite_ref-2) Nicolay, Megan. Generation T: 108 Ways to Transform a T-Shirt. Workman Publishing Company, 2006. ^ (#cite_ref-3) "Here's How Marine Serre's Upcycled Clothes Actually Get Made" (https://www.papermag.com/marine-serre-spring-2020-upcycling-2645734672.html) . PAPER . 2020-04-16 . Retrieved 2020-09-10 . ^ (#cite_ref-4) Colyar, Brock (2023-07-05). "Welcome to Bodeworld" (https://www.thecut.com/article/bode-menswear-clothing-brand-emily-adams-bode-aujla.html) . The Cut . Retrieved 2023-11-08 . v t e Fashion (/wiki/Fashion) articles Index of fashion articles (/wiki/Index_of_fashion_articles) General Environmental impact of fashion (/wiki/Environmental_impact_of_fashion) Fashion accessory (/wiki/Fashion_accessory) Fashion design (/wiki/Fashion_design) Fashion design copyright (/wiki/Fashion_design_copyright) Fashion matrix (/wiki/Fashion_matrix) Fashion museum (/wiki/Fashion_museum) Fashion plate (/wiki/Fashion_plate) Fashion tourism (/wiki/Fashion_tourism) Semiotics of fashion (/wiki/Semiotics_of_fashion) History (/wiki/History_of_fashion_design) History of clothing and textiles (/wiki/History_of_clothing_and_textiles) History of Western fashion (/wiki/History_of_Western_fashion) History of fashion design (/wiki/History_of_fashion_design) Timeline of clothing and textiles technology (/wiki/Timeline_of_clothing_and_textiles_technology) 19th century (/wiki/19th_century_in_fashion) 21st century (/wiki/21st_century_in_fashion) Events 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Arab-Israeli model Rana Raslan Raslan after being crowned national beauty queen in Tel Aviv (/wiki/Tel_Aviv) , 9 March 1999 Born ( 1977-03-17 ) 17 March 1977 (age 47) Wadi Nisnas (/wiki/Wadi_Nisnas) , Haifa (/wiki/Haifa) , Israel Occupation Model (/wiki/Model_(person)) (formerly) Spouse Unknown ( m. 2003) [1] (#cite_note-1) Beauty pageant (/wiki/Beauty_pageant) titleholder Hair colour Black (/wiki/Black_hair) Eye colour Brown (/wiki/Eye_color#Brown) Major competition(s) Miss Israel 1999 (/wiki/Miss_Israel#Notable_winners) (Winner) Miss Universe 1999 (/wiki/Miss_Universe_1999) (Unplaced) Rana Raslan ( Arabic (/wiki/Arabic_language) : رنا رسلان ; Hebrew (/wiki/Hebrew_language) : רנא רסלאן ; born ( 1977-03-17 ) 17 March 1977) is an Israeli former model who won Miss Israel (/wiki/Miss_Israel) in 1999. [2] (#cite_note-2) With the cancellation of the pageant in 2022, she remains the only Arab (/wiki/Arab_citizens_of_Israel) and Muslim (/wiki/Islam_in_Israel) to have won the title. [3] (#cite_note-ahram-3) [4] (#cite_note-4) Following her crowning as national beauty queen, Raslan represented Israel (/wiki/Israel) at Miss Universe (/wiki/Miss_Universe) that same year. [5] (#cite_note-5) Concurrent Israeli prime minister Benjamin Netanyahu (/wiki/Benjamin_Netanyahu) hailed Raslan's first-place nomination as a "clear manifestation of equality and cooperation between Jews (/wiki/Israeli_Jews) and Arabs in Israel" and criticized the assertion that Arabs are treated as second-class citizens under Israeli law. [6] (#cite_note-6) [7] (#cite_note-7) [8] (#cite_note-8) Early and personal life [ edit ] Raslan was born on 17 March 1977 in Wadi Nisnas (/wiki/Wadi_Nisnas) , a neighbourhood in the city of Haifa (/wiki/Haifa) ; her father is an Arab Muslim (/wiki/Arab_Muslims) and her mother is an Arab Christian (/wiki/Arab_Christians) who converted to Islam (/wiki/Islam) . She has described herself as a " secular Muslim (/wiki/Islam_and_secularism) " in response to accusations of immorality by Muslim fundamentalists (/wiki/Islamic_fundamentalism) —specifically in reference to the beauty pageants' usage of swimsuits (/wiki/Swimsuit) . [9] (#cite_note-9) In 2003, Raslan relocated to Dubai (/wiki/Dubai) after her marriage to an Emirati businessman. [10] (#cite_note-googletranslate-10) [11] (#cite_note-11) See also [ edit ] Israel portal (/wiki/Portal:Israel) Biography portal (/wiki/Portal:Biography) Fashion portal (/wiki/Portal:Fashion) Lucy Aharish (/wiki/Lucy_Aharish) , Arab-Israeli journalist and actress Huda Naccache (/wiki/Huda_Naccache) , Arab-Israeli model Lucy Ayoub (/wiki/Lucy_Ayoub) , Arab-Israeli journalist Mira Awad (/wiki/Mira_Awad) , Arab-Israeli musical artist References [ edit ] ^ (#cite_ref-1) "Rana: No chance for Arab in Israeli world of modeling" (https://www.bladi.info/threads/rana-no-chance-for.9374/) . Bladi.info (in French) . Retrieved 23 February 2021 . ^ (#cite_ref-2) Staff (10 March 1999). "FOR FIRST TIME, ARAB REIGNS AS MISS ISRAEL" (https://buffalonews.com/news/for-first-time-arab-reigns-as-miss-israel/article_db2ab4b4-4b8b-588a-8a9a-da46c5b39f52.html) . Buffalo News . Retrieved 14 December 2022 . ^ (#cite_ref-ahram_3-0) "In the eye of the beholder" (http://weekly.ahram.org.eg/1999/421/re2.htm) Archived (https://web.archive.org/web/20070302091321/http://weekly.ahram.org.eg/1999/421/re2.htm) 2007-03-02 at the Wayback Machine (/wiki/Wayback_Machine) Al-Ahram (/wiki/Al-Ahram) #421, March 1999 ^ (#cite_ref-4) "BBC News | Middle East | Arab crowned Miss Israel" (http://news.bbc.co.uk/2/hi/middle_east/294051.stm) . news.bbc.co.uk . Retrieved 14 December 2022 . ^ (#cite_ref-5) "Rana Raslan - Miss Universe competition" (https://www.flickr.com/photos/treesandrain/139818519/) . Flickr . 3 May 2006. ^ (#cite_ref-6) "In a first, Arab wins Miss Israel pageant" (https://web.archive.org/web/20221214013922/https://www.tampabay.com/archive/1999/03/11/in-a-first-arab-wins-miss-israel-pageant/) . Tampa Bay Times . Archived from the original (https://www.tampabay.com/archive/1999/03/11/in-a-first-arab-wins-miss-israel-pageant/) on 14 December 2022 . Retrieved 14 December 2022 . ^ (#cite_ref-7) "Back-slapping all round as Arab is crowned Miss Israel" (https://www.theguardian.com/world/1999/mar/11/davidsharrock) . the Guardian . 11 March 1999 . Retrieved 14 December 2022 . ^ (#cite_ref-8) "Israel's beauty queen is Arab; Contest: The Jewish state's first Muslim Miss Israel carries a lot more than a crown on her head" (https://www.baltimoresun.com/news/bs-xpm-1999-03-11-9903110278-story.html) . Baltimore Sun . 11 March 1999 . Retrieved 14 December 2022 . ^ (#cite_ref-9) "Arab beauty rides Miss Israel title through thorny issues", Jewish Telegraphic Agency, November 5, 1999 (http://www.jewishsf.com/content/2-0-/module/displaystory/story_id/12410/edition_id/239/format/html/displaystory.html) ^ (#cite_ref-googletranslate_10-0) "חיים אתגר על המפגש עם השייח' אליו נישאה רנא רסלאן | חשיפה" (https://www.mako.co.il/tv-exposure/articles/Article-9bd202c17161b71027.htm) . 5 August 2021. ^ (#cite_ref-11) "Rana: No chance for Arab in Israeli world of modeling" (https://www.bladi.info/threads/rana-no-chance-for.9374/) . Bladi.info (in French) . Retrieved 23 February 2021 . External links [ edit ] Israel beauty queens since 1950 (https://web.archive.org/web/20061209141521/http://www.pageantopolis.com/international/israel.htm) v t e Miss Universe 1999 (/wiki/Miss_Universe_1999) national titleholders BOT : Mpule Kwelagobe (/wiki/Mpule_Kwelagobe) DOM : Luz García (/wiki/Luz_Garc%C3%ADa) EGY : Angie Abdalla (/wiki/Angie_Abdalla) FRA : Mareva Galanter (/wiki/Mareva_Galanter) HKG : Anne Heung (/wiki/Anne_Heung) IND : Gul Panag (/wiki/Gul_Panag) ISR : Rana Raslan MEX : Silvia Salgado (/wiki/Silvia_Salgado) PAN : Yamani Saied (/wiki/Yamani_Saied) PHL : Miriam Quiambao (/wiki/Miriam_Quiambao) PRT : Marisa Ferreira (/wiki/Marisa_Ferreira) RUS : Alexandra Petrova (/wiki/Alexandra_Petrova) ZAF : Sonia Raciti (/wiki/Sonia_Raciti) SWE : Emma-Helena Nilsson (/wiki/Emma-Helena_Nilsson) THA : Apisamai Srirangsan (/wiki/Apisamai_Srirangsan) USA : Kimberly Pressler (/wiki/Kimberly_Pressler) VEN : Carolina Indriago (/wiki/Carolina_Indriago) Authority control databases (/wiki/Help:Authority_control) International VIAF (https://viaf.org/viaf/23151715580213780349) WorldCat (https://id.oclc.org/worldcat/entity/E39PBJbtjM8663gYqM4BCcR7pP) National Germany (https://d-nb.info/gnd/1185831169) Israel (http://olduli.nli.org.il/F/?func=find-b&local_base=NLX10&find_code=UID&request=987007390466205171) This Israeli biographical article is a stub (/wiki/Wikipedia:Stub) . You can help Wikipedia by expanding it (https://en.wikipedia.org/w/index.php?title=Rana_Raslan&action=edit) . v t e This biography article about an Asian contestant in a beauty pageant is a stub (/wiki/Wikipedia:Stub) . 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This article relies largely or entirely on a single source (/wiki/Wikipedia:Articles_with_a_single_source) . Relevant discussion may be found on the talk page (/wiki/Talk:55DSL##) . Please help improve this article (https://en.wikipedia.org/w/index.php?title=55DSL&action=edit) by introducing citations to additional sources (/wiki/Help:Referencing_for_beginners) . Find sources: "55DSL" (https://www.google.com/search?as_eq=wikipedia&q=%2255DSL%22) – news (https://www.google.com/search?tbm=nws&q=%2255DSL%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%2255DSL%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%2255DSL%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%2255DSL%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%2255DSL%22&acc=on&wc=on) ( May 2024 ) 55DSL Company type Private company (/wiki/Private_company) Industry Clothing (/wiki/Clothing) Founded Italy (/wiki/Italy) (1994) Headquarters Marostica (/wiki/Marostica) , province of Vicenza (/wiki/Vicenza) , Italy (/wiki/Italy) Key people Andrea Rosso, Creative Director Renzo Rosso, Founder Products Clothing (/wiki/Clothing) Website www.55DSL.com (http://www.55DSL.com/) 55DSL was a company founded in Italy (/wiki/Italy) as a 1994 spinoff from Diesel Clothing (/wiki/Diesel_S.p.A.) that sells male and female clothing in stores all around the world, that included the brand's own proprietary stores. According to the Diesel Clothing Wikipedia page (linked above), the two Diesel spinoff brands "Style Lab and 55DSL are now defunct". History [ edit ] In the beginning 55DSL was an experimental line for Diesel (/wiki/Diesel_S.p.A.) . Its first collection was called 'FW94, Subzero Winter' - a male collection consisting of 55 pieces in total. After 5 years operating under Diesel, the brand became an independent business unit, and moved from Italy (/wiki/Italy) to Balerna, Switzerland (/wiki/Balerna,_Switzerland) . Here it stayed for six years (until 2005), when it moved back again to Italy. The 55DSL brand was also the featured apparel of the characters in EA Sports Need for Speed: Carbon. Andrea Rosso The current Creative Director of 55DSL is Andrea Rosso, son of Diesel creator Renzo Rosso (born 1955). [1] (#cite_note-1) Brand Identity [ edit ] 55DSL is a bridging brand between urban culture and fashion. The core market for the brand is late teens and twenty-something urban men and women. According to the brand website, the brand is there to appeal to fashion-minded, young people, interested or involved in active sports, who have a DIY (/wiki/DIY) attitude. Brand Vision [ edit ] The company's mission (as stated on the company website) is to "become the most famous fashion option in street-wear". References [ edit ] Company portal (/wiki/Portal:Company) Fashion portal (/wiki/Portal:Fashion) Italy portal (/wiki/Portal:Italy) ^ (#cite_ref-1) Susan H. Fishman: New Diesel Concept Rolls Out In Major Markets. Denim giant Diesel grows younger, hipper apparel concept in the U.S. (http://www.shoppingcenterbusiness.com/articles/DEC07/story21.shtml) Archived (https://web.archive.org/web/20090105211457/http://www.shoppingcenterbusiness.com/articles/DEC07/story21.shtml) 2009-01-05 at the Wayback Machine (/wiki/Wayback_Machine) Retail Review, December 2007 External links [ edit ] 55DSL (https://web.archive.org/web/20151002131807/http://www.55dsl.com/) NewPP limit report Parsed by mw‐web.codfw.main‐58c7647fd9‐htzj8 Cached time: 20240715071104 Cache expiry: 2592000 Reduced expiry: false Complications: [show‐toc] CPU time usage: 0.158 seconds Real time usage: 0.242 seconds Preprocessor visited node count: 1064/1000000 Post‐expand include size: 15660/2097152 bytes Template argument size: 616/2097152 bytes Highest expansion depth: 9/100 Expensive parser function count: 5/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 5997/5000000 bytes Lua time usage: 0.095/10.000 seconds Lua memory usage: 2951234/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 218.588 1 -total 42.94% 93.852 1 Template:Infobox_company 37.21% 81.330 1 Template:Infobox 35.21% 76.964 1 Template:Single_source 28.48% 62.250 1 Template:Ambox 12.80% 27.990 1 Template:Portal 8.30% 18.151 1 Template:Reflist 5.55% 12.124 1 Template:Find_sources_mainspace 4.39% 9.601 1 Template:Comma_separated_entries 3.70% 8.084 1 Template:Webarchive Saved in parser cache with key enwiki:pcache:idhash:10519192-0!canonical and timestamp 20240715071104 and revision id 1223666871. 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Malaysian clothing Malay children wearing traditional dresses during Hari Raya (/wiki/Eid_al-Fitr) . Pakaian ( Jawi (/wiki/Jawi_script) : ڤاکاين) is the term for clothing in Malaysia's national language (/wiki/Malay_language) . It is referring to things to wear such as shirts, pants, shoes etc. [1] (#cite_note-DBP-Pakaian-1) Since Malaysia (/wiki/Malaysia) is a multicultural nation: Malay (/wiki/Malaysian_Malays) , Chinese (/wiki/Malaysian_Chinese) , Indian (/wiki/Malaysian_Indians) and hundreds of other indigenous groups of Malay Peninsula (/wiki/Malay_Peninsula) and Borneo (/wiki/Borneo) , each has its own traditional and religious articles of clothing all of which are gender-specific and may be adapted to local influences and conditions. Previously, traditional clothes were worn daily. However, by excluding Baju Melayu (/wiki/Baju_Melayu) , Baju Kurung (/wiki/Baju_Kurung) many are now only worn on special occasions such as marriage ceremonies and cultural events. History [ edit ] Malaysian traditional clothing varies by region. Nevertheless, Malay clothing can be classified according to three distinct periods of history. [2] (#cite_note-2) Early styles [ edit ] See also: Kemben (/wiki/Kemben) and Sarong (/wiki/Sarong) Prior to the prevalence of Baju Kurung (/wiki/Baju_Kurung) and Baju Kebaya (/wiki/Kebaya) , it is believed that kemban (/wiki/Kemben) was the common woman's clothing of the ancient Malay Archipelago (/wiki/Malay_Archipelago) . [3] (#cite_note-CultureandHeritage-3) Kemban is essentially a type of sarong (/wiki/Sarong) , only worn by females. Traditionally, women wear two pieces of clothes; the lower one is wrapped around the hips covering lower parts of the body (hips, thighs, and legs) and is called as kain sarong , while the piece that is wrapped around the upper body (chest and torso) is called kain kemban . The third piece of cloth called kain kelubung may also be used to cover the head (head, shoulders, and arms) from the scorching sun. On the other hand, the typical man's clothing only involved two pieces of clothes. A larger kain sarong wrapped around the waist which covered the lower part of the body, while a smaller piece tied around the head formed a headdress. The only difference between the clothes worn by the members of the nobility and the common folk is the quality of cloth used. The members of the nobility used more expensive cloth such as batik (/wiki/Batik) , ikat (/wiki/Ikat) , songket (/wiki/Songket) , or tenun (/wiki/Tenun_Pahang_Diraja) , as well as wore elaborate jewelry made of gold and precious stones. Today, this shoulder-exposing dress still features in traditional Malay dances and rituals especially in Kelantan (/wiki/Kelantan) where it is regarded as an expression of aesthetics, elegance, and femininity. Classical styles [ edit ] Malacca [ edit ] See also: Baju Melayu (/wiki/Baju_Melayu) , Baju Kurung (/wiki/Baju_Kurung) , Kebaya (/wiki/Kebaya) , and Tengkolok (/wiki/Tengkolok) A Portuguese illustration of Malay traditional clothing (Baju Kurung), 1540. Malacca was the strongest sultanate in the Malay Archipelago and was a center of entrepot trade, with traders from China, India, and the Middle East. According to the Sejarah Melayu (/wiki/Sejarah_Melayu) (Malay Annals), Sultan Mansur Shah (/wiki/Mansur_Shah_of_Malacca) , the sixth Malaccan ruler, banned Malay women from wearing only a kemban as it ran contrary to personal modesty based on the Islamic teachings. With the guides from Tun Hassan Temenggong, the son of Bendahara Seri Maharaja Tun Mutahir, the traditional Baju Melayu (/wiki/Baju_Melayu) and Baju Kurung (/wiki/Baju_Kurung) were born, adopting different elements from around the world. This style of clothing then remained largely unchanged over the next three and a half centuries. When the Portuguese conquered Malacca in 1511, they introduced the term cabaya from the Arabic word abaya (/wiki/Abaya) to describe the blouse-dress traditionally worn throughout the archipelago. The features of Baju Kebaya is notably very similar to the traditional Malay Baju Kurung and Baju Belah . In the 16th or 17th century, this style of clothing was adopted by the multicultural communities of Portuguese Malacca (/wiki/Portuguese_Malacca) . [4] (#cite_note-4) The appearance of European elements can be attributed to the role of the Portuguese and the Dutch during the colonial era. Today, the Kristang community in Malacca still wears the original Portuguese style kebaya as their traditional costume. [5] (#cite_note-Annette-5) Johor [ edit ] See also: Songkok (/wiki/Songkok) A Kedahan Malay (/wiki/Kedahan_Malay) lady wearing a traditional Baju Kurung (/wiki/Baju_Kurung) with Teluk Belanga style The earlier Baju Kurung was longer and looser. In Johor, another version of Baju Kurung emerged as it was first introduced during the reign of Sultan Abu Bakar (/wiki/Abu_Bakar_of_Johor) to commemorate the move of Johor's capital from Teluk Belanga to Tanjung Puteri in 1866. Sultan Abu Bakar ordered that the woman's dress be down to below the knee with its neckline smooth and not baggy. The Teluk Belanga style has no collar and the neckline is stitched in various forms of embroidery. During the reign of Sultan Ibrahim, the dress was changed at the suggestion of the Jaafar bin Haji Muhammad, the first Menteri Besar of Johor, where a pocket was added onto the Baju Kurung . At the same time, the kain kelubung remained relevant as a part of women's dress right up to the 1930s. Today, the Teluk Belanga style is synonymous with the standard traditional Baju Kurung . Kedah [ edit ] In the northern Malay Peninsula, a style of clothing known as Baju Sikap is preferred by men and was worn as early as 1786. [6] (#cite_note-6) It is a part of the official attire of the Sultan of Kedah (/wiki/Kedah_Sultanate) and has been worn for the past two centuries among the royal family of Kedah for state official ceremonies. [7] (#cite_note-7) Baju Sikap is considered one of the basic Malay clothing, that is a part of the Malay "suit six", usually worn during official events in Malaysia. Modern styles [ edit ] See also: Tudong (/wiki/Tudong) At the beginning of the 20th century, another style of kebaya was popularised by the Malaccan Peranakan community, where it is locally known as Kebaya Nyonya . This Nyonya style is different from its predecessors as it uses textile with Chinese motive that intricately embroidered with Chinese techniques. This style of kebaya is usually accompanied by intricately hand-beaded shoes. Other than Malacca, this style is also popular in other straits settlements such as Penang and Singapore. In 1960, Baju Muskat was first worn during the coronation of the third Yang di-Pertuan Agong (/wiki/Putra_of_Perlis) inspired by Tunku Abdul Rahman (/wiki/Tunku_Abdul_Rahman) when he became the first Prime Minister of Malaysia (/wiki/Prime_Minister_of_Malaysia) , who was a prince from the Kedah. The Baju Muskat is a modified version of Baju Sikap (/w/index.php?title=Baju_Sikap&action=edit&redlink=1) from the official attire of Kedah State Government Officials and thus become one of the regalia of Malaysia (/wiki/Regalia_of_Malaysia) . In the 1950s, the selendang began replacing the larger kain kelubung . By the early 1980s, the Baju Kurung Moden , a style of Baju Kurung that closely followed western fashion and detailing was flourished. The Baju Kurung continues to survive and prosper, especially due to its popularity during the Islamisation of Malaysia in the 1970s and 1980s as well as its introduction as a school uniform for public schools in the country. Varieties [ edit ] A Malay couple in traditional Malay clothing. The groom is wearing a Baju Melayu (/wiki/Baju_Melayu) paired with songkok (/wiki/Songkok) and samping (/wiki/Samping) , while the bride wears Baju Kurung (/wiki/Baju_Kurung) with a tudong (/wiki/Tudong) . A group of women posing in traditional Peranakan (/wiki/Peranakan) style Nyonya Kebaya (/wiki/Kebaya) . Conical hats of the Dusun people (/wiki/Dusun_people) of Sabah (/wiki/Sabah) . Bumiputera [ edit ] Malay [ edit ] See also: Malaysian Malays (/wiki/Malaysian_Malays) Traditional Malay clothing for men is the Baju Melayu (/wiki/Baju_Melayu) , a long-sleeved shirt which is worn over trousers and usually accompanied with a short sarong (/wiki/Sarong) called a samping (/wiki/Samping) which is wrapped around the hips. It is also often accompanied with a songkok (/wiki/Songkok) or tengkolok (/wiki/Tengkolok) . [8] (#cite_note-8) Traditionally, Malay men may opt to wear the Pending (/wiki/Regalia_of_Malaysia#Royal_buckle) and Baju Sikap (/w/index.php?title=Baju_Sikap&action=edit&redlink=1) in order to complete the Malay "suit six". On the other hand, Malay women wear the Baju Kurung (/wiki/Baju_Kurung) . Baju Kurung is a knee-length blouse worn over a long skirt, known as sarong (/wiki/Sarong) . The blouse is long-sleeved and usually collarless, while the sarong (/wiki/Sarong) has pleats on one side. [9] (#cite_note-9) A tudong (/wiki/Tudong) , selendang or kain dagang (/wiki/Samping) is sometimes worn with this. Another popular traditional costume for women is the Baju Kebaya (/wiki/Kebaya) , a more tight-fitting two-piece dress that is often considered less formal. [10] (#cite_note-10) It is famously worn by the female flight attendants of Malaysia Airlines (/wiki/Malaysia_Airlines#Cabin) . Peranakan [ edit ] See also: Peranakans (/wiki/Peranakans) , Chitty (/wiki/Chitty) , and Kristang people (/wiki/Kristang_people) Chinese immigrants who married Malays and adopted some of the Malay cultures are known as the Baba Nyonya or Peranakan (/wiki/Peranakan) Chinese. The traditional wear for Nyonya is the Baju Panjang and a style of kebaya (/wiki/Kebaya) known as Kebaya Nyonya , which are hard-made lace-like trimmed clothing, often with intricate embroidery. [3] (#cite_note-CultureandHeritage-3) On the other hand, the Baba usually wear clothing similar to the Chinese, called Baju Lok Chuan . Similar to Peranakan, the Chitty community commonly found in Malacca usually wear similar costumes. The Chitty women usually wear the Kebaya Panjang or the Kebaya Pendek with a sarong while the men wear dhoti with shirt or sarong with a head turban. Those descended from the Portuguese (/wiki/Portuguese_people) often wear Portuguese-style outfits. Men often wear jackets and trousers with waist sashes, while women wear broad front-layered skirts. The dominant colours are black and red. [3] (#cite_note-CultureandHeritage-3) Other indigenous [ edit ] See also: Orang Asli (/wiki/Orang_Asli) , Iban people (/wiki/Iban_people) , Kadazandusun (/wiki/Kadazandusun) , Bajau (/wiki/Bajau) , and Malaysian Siamese (/wiki/Malaysian_Siamese) Most indigenous people wore bark (/wiki/Barkcloth) costumes decorated with beads. The Orang Asli (/wiki/Orang_Asli) of West Malaysia (/wiki/West_Malaysia) still wear clothing of natural materials, often out of tree bark and skirt. Leaf fronds are sometimes crafted into headbands or other ornaments. [3] (#cite_note-CultureandHeritage-3) On the other hand, Siamese (/wiki/Malaysian_Siamese) community of northern Malaysia, both women and men have traditionally worn attire of Thai origin. In East Malaysia (/wiki/East_Malaysia) similar clothes are worn. The Orang Ulu (/wiki/Orang_Ulu) of Sarawak wear hand-loomed cloths as well as tree bark fabrics. Beads and feathers are used for decoration. On the other hand, the Iban (/wiki/Iban_people) are known for their woven pua (/wiki/Pua_Kumbu) used in the traditional Ngepan costumes. In Sabah, the clothing of different tribes differs with different amounts, with tribes in close proximity having similar clothing. Notable ones are the Kadazan-Dusun (/wiki/Kadazan-Dusun) bamboo strips hat called siung (/wiki/Asian_conical_hat) worn by women, the dastar of the Bajau (/wiki/Bajau) worn by men. [3] (#cite_note-CultureandHeritage-3) Non-Bumiputera [ edit ] Chinese [ edit ] See also: Malaysian Chinese (/wiki/Malaysian_Chinese) Traditional, Chinese men in Malaysia wear a dress called a Tang suit (/wiki/Tangzhuang) . Tang suit is a type of jacket with a collar and a knot at the belly. It is mostly of floral motifs. On the other hand, the Chinese women wear the cheongsam (/wiki/Cheongsam) , a one-piece dress with a collar, diagonally closed with small clips or toggles (fabric clasps). It sometimes can have slits at the side, as is made with a soft fabric such as silk (/wiki/Silk) . [3] (#cite_note-CultureandHeritage-3) The cheongsam is especially popular around the time of the Chinese New Year and other formal gatherings. Older well-respected women wear a samfoo (/wiki/Shanku) , which looks like pajamas with a separate loose-fitting top fastened by toggles and ankle-length, or above the ankle, pants. Indian [ edit ] See also: Malaysian Indian (/wiki/Malaysian_Indian) Indians in Malaysia as with elsewhere in the world wear sarees (/wiki/Saree) and usually worn with a petticoat (/wiki/Petticoat) of a similar shade. It is wrapped around the body so that the embroidered end hangs over the shoulder, while the petticoat is worn above the bellybutton to support the saree, which can be made from a wide variety of materials. On formal occasions, Indian men wear the kurta (/wiki/Kurta) , a knee-length collarless shirt that is adorned in mostly white or pastel colors. [3] (#cite_note-CultureandHeritage-3) Nowadays, Kurtas are also made out of colorful fabrics and worn with a loose trouser with a string tie at the waist called the pyjama . Indian men also wear Sherwani (/wiki/Sherwani) , Lungi (/wiki/Lungi) and Dhoti (/wiki/Dhoti) . The Punjabi Salwar kameez (/wiki/Salwar_kameez) , a long tunic worn over trousers with a matching shawl is also popular among Punjabis. [3] (#cite_note-CultureandHeritage-3) The fabrics are imported from India, made of the best quality silk that is used in making sarees. On the other hand, the men wear Kurta with pants and a mandatory head turban. Gallery [ edit ] A shop in Malaysia selling a variety of Malaysian batik (/wiki/Malaysian_batik) . A Terengganuan Malay (/wiki/Terengganuan_Malay_people) woman in traditional Malay Baju Kebaya (/wiki/Kebaya) , 1908. Tani Yutaka (/wiki/Tani_Yutaka) , the Malayan (/wiki/British_Malaya) Japanese secret agent, photographed in Baju Melayu (/wiki/Baju_Melayu) . A kain lepas with a broad sash ( kain kemban (/wiki/Kemben) ) dressed over a Terengganuan (/wiki/Terengganu) style of flowered sarong (/wiki/Sarong) with kain kelubung . A group of Kristang people (/wiki/Kristang_people) performing a traditional dance in Malacca. Variety of Kadazandusun priest and priestesses attires. Bisaya traditional costume in Sabah West Coast Bajau women of Sabah (/wiki/Sabah) , in their Badu Sipak . Suluk woman in a pangalay (/wiki/Pangalay) dance. Murut in traditional attire. Lundayeh women from Sabah (/wiki/Sabah) in traditional attire. Dusun traditional costume Dusun women with Sunduk An Iban (/wiki/Iban_people) couple in their ngepan . A Bidayuh man with a flute from Sarawak (/wiki/Sarawak) . Jah Hut performers in Selangor (/wiki/Selangor) . An Orang Seletar man and woman from Pasir Gudang (/wiki/Pasir_Gudang) , Johor (/wiki/Johor) in traditional attire. See also [ edit ] Clothing portal (/wiki/Portal:Clothing) Fashion portal (/wiki/Portal:Fashion) Malaysia portal (/wiki/Portal:Malaysia) Culture of Malaysia (/wiki/Culture_of_Malaysia) References [ edit ] ^ (#cite_ref-DBP-Pakaian_1-0) "Carian Umum - Pakaian" (https://prpm.dbp.gov.my/Cari1?keyword=pakaian&d=376296&#LIHATSINI) . prpm.dbp.gov.my (in Malay) . Retrieved 21 November 2020 . ^ (#cite_ref-2) "Enduring charm of the baju kurung" (https://www.nst.com.my/lifestyle/sunday-vibes/2019/08/513680/enduring-charm-baju-kurung) . Retrieved 21 November 2020 . ^ Jump up to: a b c d e f g h "About Malaysia: Culture and heritage" (https://web.archive.org/web/20110228124254/http://www.tourism.gov.my/about_malaysia/?view=culture) . Tourism.gov.my. Archived from the original (http://www.tourism.gov.my/about_malaysia/?view=culture) on 28 February 2011 . Retrieved 21 March 2011 . ^ (#cite_ref-4) World Eco-Fiber & Textile (W.E.F.T) Forum 2003 . Atelier. 2003. ISBN (/wiki/ISBN_(identifier)) 9780759121508 . ^ (#cite_ref-Annette_5-0) Annette Lynch-Mitchell D. Strauss, ed. (2014). Ethnic Dress in the United States: A Cultural Encyclopedia . Rowman & Littlefield. ISBN (/wiki/ISBN_(identifier)) 9780759121508 . ^ (#cite_ref-6) "BUSANA KEDAH" (http://www.jkkn.gov.my/ms/busana-kedah) . Retrieved 20 November 2020 . ^ (#cite_ref-7) "Baju Sikap" (https://www.kedah.gov.my/baju-sikap) . Retrieved 20 November 2020 . ^ (#cite_ref-8) "Malays" (http://www.sabah.edu.my/itsr039/malays.htm) . www.sabah.edu.my . ^ (#cite_ref-9) "Adventures, Cultures, Commerce And Pleasure" (https://web.archive.org/web/20170803190046/http://www.pahang-delights.com/baju-kurung.html) . Archived from the original (http://www.pahang-delights.com/baju-kurung.html) on 3 August 2017 . Retrieved 18 November 2020 . ^ (#cite_ref-10) "Archived copy" (https://web.archive.org/web/20150120082844/http://www.moe.gov.my/upload/galeri_awam/pekeliling/2007_BTMK_28_6645_4984.pdf) (PDF) . Archived from the original (http://www.moe.gov.my/upload/galeri_awam/pekeliling/2007_BTMK_28_6645_4984.pdf) (PDF) on 20 January 2015 . Retrieved 20 January 2015 . {{ cite web (/wiki/Template:Cite_web) }} : CS1 maint: archived copy as title ( link (/wiki/Category:CS1_maint:_archived_copy_as_title) ) External links [ edit ] "Customs & Traditions." (https://web.archive.org/web/20070421013456/http://library.thinkquest.org/C004179/customs.htm) Fabric Online. 6 April 2007. "MALAYSIA." (https://web.archive.org/web/20070316133637/http://www.relc.org.sg/RSIP/rsip04/Malaysia/malaysia.htm) Seameo RSIP07. 6 April 2007. v t e Folk costumes (/wiki/Folk_costume) Africa (/wiki/Clothing_in_Africa) Balgha (/wiki/Balgha) Boubou (/wiki/Agbada) Dashiki (/wiki/Dashiki) Djellaba (/wiki/Djellaba) Head tie (/wiki/Head_tie) Jellabiya (/wiki/Jellabiya) Kanzu (/wiki/Kanzu) Kente cloth (/wiki/Kente_cloth) Kufi (/wiki/Kufi) Litham (/wiki/Litham) Pareo (/wiki/Pareo) Senegalese kaftan (/wiki/Senegalese_kaftan) Tagelmust (/wiki/Tagelmust) Wrapper (/wiki/Wrapper_(clothing)) Asia Central Afghanistan (/wiki/Pashtun_clothing) Pakol (/wiki/Pakol) Chapan (/wiki/Chapan) Deel (/wiki/Deel_(clothing)) Malahai (/wiki/Malahai) Paranja (/wiki/Paranja) East China (/wiki/Chinese_clothing) Cheongsam (/wiki/Cheongsam) Hanfu (/wiki/Hanfu) Mao suit (/wiki/Mao_suit) Tangzhuang (/wiki/Tangzhuang) Japan (/wiki/Japanese_clothing) Hachimaki (/wiki/Hachimaki) Kimono (/wiki/Kimono) Obi (/wiki/Obi_(sash)) Korea (/wiki/List_of_Korean_clothing) Cheopji (/wiki/Cheopji) Daenggi (/wiki/Daenggi) Gache (/wiki/Gache) Hanbok (/wiki/Hanbok) Hwagwan (/wiki/Hwagwan) Jokduri (/wiki/Jokduri) Manggeon (/wiki/Wangjin) South Bhutan Gho (/wiki/Gho) Kira (/wiki/Kira_(Bhutan)) Dhoti (/wiki/Dhoti) Dupatta (/wiki/Dupatta) India (/wiki/Clothing_in_India) Lungi (/wiki/Lungi) Nepal (/wiki/Newar_traditional_clothing) Pakistan (/wiki/Pakistani_clothing) Pathin (/wiki/Pathin) Perak (/wiki/Perak_(headdress)) Peshawari pagri (/wiki/Peshawari_turban) Sari (/wiki/Sari) Shalwar kameez (/wiki/Shalwar_kameez) Sherwani (/wiki/Sherwani) Southeast Burma (/wiki/Burmese_clothing) Longyi (/wiki/Longyi) Gaung baung (/wiki/Gaung_baung) Cambodia (/wiki/Khmer_clothing) Chong Kben (/wiki/Sompot_Chong_Kben) Krama (/wiki/Krama) Sompot (/wiki/Sompot) Sbai (/wiki/Sbai) Indonesia (/wiki/National_costume_of_Indonesia) Baju bodo (/wiki/Bodo_blouse) Batik (/wiki/Batik) Blangkon (/wiki/Blangkon) Ikat (/wiki/Ikat) Kebaya (/wiki/Kebaya) Kemben (/wiki/Kemben) Kupiah (/wiki/Kupiah) Songket (/wiki/Songket) Songkok (/wiki/Songkok) Tanjak (/wiki/Tengkolok) Ulos (/wiki/Ulos) Laos (/wiki/Culture_of_Laos#Traditional_clothing) Xout lao (/wiki/Xout_lao) Suea pat (/wiki/Suea_pat) Sinh (/wiki/Sinh_(clothing)) Malaysia Baju Kurung (/wiki/Baju_Kurung) Baju Melayu (/wiki/Baju_Melayu) Songket (/wiki/Songket) Songkok (/wiki/Songkok) Tengkolok (/wiki/Tengkolok) Philippines (/wiki/Fashion_and_clothing_in_the_Philippines) Barong tagalog (/wiki/Barong_tagalog) Baro't saya (/wiki/Baro%27t_saya) Buntal hat (/wiki/Buntal_hat) Malong (/wiki/Malong) Maria Clara gown (/wiki/Maria_Clara_gown) Patadyong (/wiki/Patadyong) Salakot (/wiki/Salakot) Thailand (/wiki/Traditional_Thai_clothing) Banong (/wiki/Traditional_Thai_clothing#Banong) Chong kraben (/wiki/Chong_kraben) Chut Thai (/wiki/Traditional_Thai_clothing) Formal Chut Thai (/wiki/Formal_Thai_national_costume) Pha khao ma (/wiki/Traditional_Thai_clothing#Pha_khao_ma) Pha nung (/wiki/Pha_nung) Raj 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Fashion industry event in Paris, France Paris Fashion Week Magdalena Frackowiak (/wiki/Magdalena_Frackowiak) in Elie Saab (/wiki/Elie_Saab) at Paris Fashion Week F/W 2011 Genre Clothing and fashion exhibitions Date(s) spring and fall Frequency semi annual Location(s) Paris (/wiki/Paris) , France Inaugurated October 1–9, 1973 Organised by Fédération de la Haute Couture et de la Mode (/wiki/F%C3%A9d%C3%A9ration_de_la_Haute_Couture_et_de_la_Mode) Website Official website (https://fhcm.paris/en/) Paris Fashion Week ( French (/wiki/French_language) : Semaine de la mode de Paris ) is a series of designer presentations held semi-annually in Paris (/wiki/Paris) , France (/wiki/France) , with spring/summer and autumn/winter events held each year. Dates are determined by the Fédération de la Haute Couture et de la Mode (/wiki/F%C3%A9d%C3%A9ration_de_la_Haute_Couture_et_de_la_Mode) . Paris Fashion Week is held at venues throughout the city. [1] (#cite_note-1) In addition to ready-to-wear (/wiki/Ready-to-wear) shows, there are men's and haute couture (/wiki/Haute_couture) shows; these are held semiannually for the spring/summer and autumn/winter seasons. [2] (#cite_note-2) The haute couture collections are always presented and exhibited before the ready-to-wear collections, with there being a total of a little over 100 collections each season. [3] (#cite_note-3) Also, every year, famous brands like Dior (/wiki/Dior) , Chanel (/wiki/Chanel) , Louis Vuitton (/wiki/Louis_Vuitton) , Kenzo (/wiki/Kenzo_(brand)) , Givenchy (/wiki/Givenchy) , and Céline (/wiki/Celine_(brand)) host their shows in historical places such as the Carrousel du Louvre (/wiki/Carrousel_du_Louvre) and the Grand Palais (/wiki/Grand_Palais) . [4] (#cite_note-4) [5] (#cite_note-5) It is one of the "Big Five" global fashion weeks (/wiki/Fashion_week) of which it forms a part alongside Milan (/wiki/Milan_Fashion_Week) , New York (/wiki/New_York_Fashion_Week) , London (/wiki/London_Fashion_Week) , and Tokyo (/wiki/Tokyo_Fashion_Week) . [6] (#cite_note-6) [7] (#cite_note-RCA-7) [8] (#cite_note-8) Paris Fashion Week criteria [ edit ] In order to participate, the houses must fulfill the criteria that are set in place by the Chamber of Haute Couture. One criterion involves a requirement of 35 looks per year that need to include day and evening wear. Only a few houses are able to fulfill this requirement; therefore, this leaves few to participate in Haute Couture (/wiki/Haute_couture) fashion shows. [9] (#cite_note-9) Since there are only a few spots left for those to participate, there are the well-known high-end fashion brands like Chanel and Alexander Mcqueen, but also the lesser-known ones like Maxime Simöens and Eymele Burgaud. [10] (#cite_note-10) The Big 4 [ edit ] Paris Fashion Week is part of the global "Big 4" fashion weeks (/wiki/Fashion_week) , the others being London Fashion Week (/wiki/London_Fashion_Week) , Milan Fashion Week (/wiki/Milan_Fashion_Week) and New York Fashion Week (/wiki/New_York_Fashion_Week) . [11] (#cite_note-11) [12] (#cite_note-12) The schedule begins with New York, followed by London, and then Milan and ends in Paris. New York was the first city to hold a "fashion week". [13] (#cite_note-13) Origins [ edit ] Although the first fashion week was held in New York, the event itself derives from "salon shows" ("défilés de mode" in French, literally "fashion parades") in Paris couture salons. [14] (#cite_note-14) A fashion week consists of a week of organized events of multiple designer's collections. Before this organized event was recognized in New York City (/wiki/New_York_City) , fashion showings were being held in Paris as early as the 1700s. Some earlier showings were presented on mannequins which made it difficult for clients to see fashion pieces fully since the mannequin didn't have the same mobility a model did. These early showings were only to clients purchasing items and were shown on mannequins. [15] (#cite_note-15) In the 1800s, showings began to change. Charles Frederick Worth (/wiki/Charles_Frederick_Worth) , noted for haute couture (/wiki/Haute_couture) , began showing multiple pieces together and of a higher design. These designs were showcased to get the customer's attention in buying the pieces. Jeanne Paquin (/wiki/Jeanne_Paquin) is the first designer to make her showings public and Paul Poiret (/wiki/Paul_Poiret) is the first to host parties after his events. [16] (#cite_note-Guide-16) In the mid 1800s, Mme Pauline von Metternich (/wiki/Pauline_von_Metternich) , [17] (#cite_note-17) an Austrian Princess and wife to the Ambassador of Paris, saw one of Worth's sketches and employed him to make her a gown. He gained much recognition through his powerful clients and opened his own haute couture house in Paris in 1858, which sold luxury fashion to upper-class women. Chambre Syndicale de la Haute Couture [ edit ] In 1868 the Chambre Syndicale de la Haute Couture (/wiki/Chambre_Syndicale_de_la_Haute_Couture) was created to set the specifications to determine what constituted a 'couture house'. [18] (#cite_note-History-18) The group decided that to be defined a piece of haute couture (/wiki/Haute_couture) the clothing must have been; custom-made to fit the wearer, hand-sewn by multiple skilled artisans in the separate fields of embroidery (/wiki/Embroidery) , stitching, and beading, and only the most high quality of materials may be used. [18] (#cite_note-History-18) L’Association de Protection des Industries Artistiques Saisonnières [ edit ] In 1921, fifty-three years after the Chambre Syndicale de la Haute Couture (/wiki/Chambre_Syndicale_de_la_Haute_Couture) was created, the French press created L’Association de Protection des Industries Artistiques Saisonnieres, [19] (#cite_note-19) or PAIS to protect couture designs from being copied. [18] (#cite_note-History-18) To ensure the copyright of the designers, their creations were photographed on a model or mannequin from the front, back, and sides to catalog the design. The first Paris Fashion Week [ edit ] In 1945 the Chambre Syndicale de la Haute Couture established another set of rules to regulate and determine Haute Couture houses. [20] (#cite_note-Bazaar-20) In order to meet the criteria, the house had to ensure they followed the updated rules with one of them being that in each season, a couture house must present a collection of at least 35 runs with both daytime and evening wear to the Paris press. [20] (#cite_note-Bazaar-20) Others included having at least 20 members on staff, and that every design must include fittings and be made-to-order for the clientele. [20] (#cite_note-Bazaar-20) The following biannual events of Haute Couture houses in accordance with the new guidelines set by the Chambre Syndicale de la Haute Couture have been seen as the first pair of fashion weeks in Paris. First fashion week under the Fédération Française de la Couture [ edit ] The first recognized Paris Fashion Week was held in October 1973 and organized Haute Couture, Ready-to-Wear, and Men's Fashion into one grouped showing by the Fédération Française de la Couture (/wiki/F%C3%A9d%C3%A9ration_Fran%C3%A7aise_de_la_Couture) . [21] (#cite_note-21) The event was a fundraiser held at the Palace of Versailles (/wiki/Palace_of_Versailles) to restore the palace. The amount aimed to reach to repair the palace was estimated at US$60 million which converts to 53,026,956 Euros. [22] (#cite_note-HighSnob-22) The fundraiser was started because the French government had stated they could not handle the cost of the renovations. It was overseen by the founder of New York Press Week, now known as New York Fashion Week (/wiki/New_York_Fashion_Week) , Eleanor Lambert (/wiki/Eleanor_Lambert) , in accordance with, the at the time Versailles curator, Gérald Van der Kemp. [16] (#cite_note-Guide-16) The restorations and renovations included Marie Antoinette (/wiki/Marie_Antoinette) 's dressing room, Louis XV (/wiki/Louis_XV) 's children's play room, and a staircase which began construction in 1722 but was never finished. [22] (#cite_note-HighSnob-22) Both American and Parisian designers attended the event including; Anne Klein (/wiki/Anne_Klein_(fashion_designer)) , Bill Blass (/wiki/Bill_Blass) , Stephen Burrows (/wiki/Stephen_Burrows_(designer)) , Oscar de la Renta (/wiki/Oscar_de_la_Renta) , Hubert de Givenchy (/wiki/Hubert_de_Givenchy) , and Yves Saint Laurent (/wiki/Yves_Saint_Laurent_(brand)) . [22] (#cite_note-HighSnob-22) The French designers each held their own showing set to various themes whose pieces included; a rocket ship, pumpkin coach and a rhinoceros pulling a gypsy caravan. The American designers, due to errors in measurement conversion, collectively held one showing under the common theme of Paris using both white and African-American models. [22] (#cite_note-HighSnob-22) The American designers' use of diversity in models marked the event as the first time African-American models had walked a French runway. [22] (#cite_note-HighSnob-22) The event gained much publicity because of the designers involved and is given the nickname " The Battle of Versailles (/wiki/The_Battle_of_Versailles_Fashion_Show) " because of its location and the tension between the American and Parisian designers during the run of the show. [22] (#cite_note-HighSnob-22) Rules of Paris Fashion Show [ edit ] Size-zero ban [ edit ] According to French law Fashion Week does not allow models of a body mass index size zero to attend. [23] (#cite_note-23) [24] (#cite_note-24) The purpose of this ban is to deter models from trying to attain an unhealthy beauty standard and in turn promoting it to the public. Nutritionist and dietetics warn individuals about this dangerous fashion trend as it creates a higher increase of eating disorders in younger individuals, ranging from 14-18 years old. [25] (#cite_note-25) However, the term "size-zero" was not created by Fashion Week, but those in the Hollywood film industry in the 1990s. Most seeking to get into the fashion world confuse the size 0 law as a law that does not allow models in a size 0 to walk in shows. [ citation needed ] Age limits [ edit ] Paris Fashion Week prohibits models under 18 years of age. After steps taken by luxury brands like LVMH (/wiki/LVMH) and Kering (/wiki/Kering) , it is stated that "No model under 16 years will be recruited to take part in fashion shows or photographic sessions representing adults." [26] (#cite_note-26) See also [ edit ] Fashion week (/wiki/Fashion_week) List of fashion events (/wiki/List_of_fashion_events) References [ edit ] ^ (#cite_ref-1) "A Brief History Of Paris Fashion Week" (https://www.vogue.co.uk/fashion/article/article/history-of-paris-fashion-week) . British Vogue . 2019-09-23 . Retrieved 2022-03-04 . ^ (#cite_ref-2) "Archived copy" (https://web.archive.org/web/20161113182639/http://www.modeaparis.com/en/fashion-shows/Schedules) . Archived from the original (http://www.modeaparis.com/en/fashion-shows/Schedules/) on 2016-11-13 . Retrieved 2016-11-21 . {{ cite web (/wiki/Template:Cite_web) }} : CS1 maint: archived copy as title ( link (/wiki/Category:CS1_maint:_archived_copy_as_title) ) ^ (#cite_ref-3) “Paris Fashion Week.” FashionUnited, fashionunited.com/landing/paris-fashion-week. Accessed 02 Nov. 2023. ^ (#cite_ref-4) Exposito, Adrian Gomis (2022-01-24). "Kenzo FW22 Front Row Vanity Teen 虚荣青年 Lifestyle & New Faces Magazine" (https://www.vanityteen.com/kenzo-fw22-front-row-fw22/) . www.vanityteen.com . Retrieved 2022-03-04 . ^ (#cite_ref-5) "Paris Fashion Week" (https://rove.me/to/paris/paris-fashion-week) . 31 October 2022. ^ (#cite_ref-6) Santosa, Olly G. "5 of the Most Famous Fashion Events in the World" (https://www.tatlerasia.com/style/fashion/5-of-the-most-famous-fashion-events-in-the-world) . Tatler Asia (in Indonesian) . Retrieved 2023-12-30 . ^ (#cite_ref-RCA_7-0) "Fashioning the City: Exploring Fashion Cultures, Structures and Systems" (http://fashioningthecity.wordpress.com/call-for-papers/) . Royal College of Art. 27 January 2012 . Retrieved 2 May 2014 . ^ (#cite_ref-8) "Fashion Week: le quattro settimane della moda nel mondo" (https://www.lifeandpeople.it/2017/08/03/fashion-week-nel-mondo/) (in Italian) . Retrieved 28 December 2021 . ^ (#cite_ref-9) "Paris Fashion Week" (https://fashionunited.com/landing/paris-fashion-week) . FashionUnited . Retrieved 2023-04-14 . ^ (#cite_ref-10) "Everything you need to know about haute couture" (https://www.cnn.com/style/article/haute-couture-red-carpet/index.html) . CNN Style . Retrieved 2023-11-02 . ^ (#cite_ref-11) Bradford, Julie (2014). Fashion Journalism . Routledge. p. 129. ISBN (/wiki/ISBN_(identifier)) 9781136475368 . ^ (#cite_ref-12) Dillon, Susan (2011). The Fundamentals of Fashion Management . A&C Black. p. 115. ISBN (/wiki/ISBN_(identifier)) 9782940411580 . ^ (#cite_ref-13) Fortini, Amanda (8 February 2006). "How the Runway Took off" (https://slate.com/culture/2006/02/a-brief-history-of-the-fashion-show.html) . Slate . ^ (#cite_ref-14) "Celebrating Style: The History of Fashion Week" (http://www.marieclaire.com/fashion/a10274/history-of-fashion-week/) . 15 August 2014. ^ (#cite_ref-15) Di Boscio, Chere. "Timeline: The History of Haute Couture." Eluxe Magazine. N.p., 31 January 2015. Web. 5 February 2016. ^ Jump up to: a b McConnell, Molli. "Paris Fashion Week: A Guide To The Iconic Event." The Culture Trip. N.p., n.d. Web. 29 January 2016. ^ (#cite_ref-17) "PRINCESS PAULINE VON METTERNICH" (https://www.acuriousinvitation.com/pauline.html) . www.acuriousinvitation.com . Retrieved 2022-03-04 . ^ Jump up to: a b c Di Boscio, Chere. "Timeline: The History of Haute Couture." The federation is organized of three chambres. The Chambre Syndicale de la Mode Feminine, the Chambre Syndicale de la Mode Masculine, and the Chambre Syndicale de la Haute Couture. These chambers aid in the organization of the Federation which in turn, aids in the Paris Fashion Week. Eluxe Magazine. 31 January 2015. Web. 5 February 2016. ^ (#cite_ref-19) "Haute Couture | Encyclopedia.com" (https://www.encyclopedia.com/fashion/encyclopedias-almanacs-transcripts-and-maps/haute-couture) . www.encyclopedia.com . Retrieved 2020-09-10 . ^ Jump up to: a b c Bazaar UK, Harper's BAZAAR. "The History of Haute Couture." Harper's BAZAAR. N.p., 10 July 2014. Web. 1 February 2016. ^ (#cite_ref-21) "History of Fashion Week" (https://fashionweekonline.com/history-of-fashion-week) . Fashion Week Online® . Retrieved 2023-11-03 . ^ Jump up to: a b c d e f Banks, Alec. "Paris Fashion Week History." Highsnobiety. N.p., 2 July 2015. Web. 29 January 2016. ^ (#cite_ref-23) "Size 0 Models Were Just Banned from Paris Fashion Week: Details" (https://www.usmagazine.com/stylish/news/size-zero-models-banned-at-paris-fashion-week-w501466/) . Us Weekly . 2017-09-06 . Retrieved 2019-04-24 . ^ (#cite_ref-24) "Size-zero ban hits Paris catwalks, campaigners hopeful" (https://www.reuters.com/article/us-fashion-paris-models-idUSKCN1C720G) . Reuters . 2017-10-03 . Retrieved 2019-04-24 . ^ (#cite_ref-25) "Size zero, a dangerous fashion". CE Noticias Financieras . 17 January 2023. ProQuest (/wiki/ProQuest_(identifier)) 2766845546 (https://search.proquest.com/docview/2766845546) . ^ (#cite_ref-26) Willsher, Kim (2017-09-06). "French fashion firms pledge to stop using underage and size zero models" (https://www.theguardian.com/fashion/2017/sep/06/french-fashion-giants-pledge-to-stop-using-underage-and-size-zero-models) . The Guardian . ISSN (/wiki/ISSN_(identifier)) 0261-3077 (https://www.worldcat.org/issn/0261-3077) . Retrieved 2019-04-24 . External links [ edit ] Wikimedia Commons has media related to Paris Fashion Week (https://commons.wikimedia.org/wiki/Category:Paris_Fashion_Week) . 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Lacrosse gloves Lacrosse gloves are heavily padded, protective gloves (/wiki/Glove) worn by men's lacrosse (/wiki/Lacrosse) players. The gloves are designed to protect players' hands, wrists, and forearms from checks, or legal defensive hitting common in the sport. Gloves consist of thick padding on the back of the hand and forearm covered in leather or canvas material, and a palm area made of synthetic and mesh material. A goaltender (/wiki/Goaltender_(field_lacrosse)) 's gloves may have extra padding for the thumb to protect against injury from shots. While NCAA (/wiki/NCAA) collegiate rules require that men's gloves have palms covered, other leagues, including post-collegiate club lacrosse, the National Lacrosse League (/wiki/National_Lacrosse_League) , Major League Lacrosse (/wiki/Major_League_Lacrosse) , and international play (/wiki/Federation_of_International_Lacrosse) , permit players to cut out the palm area for greater grip and control of the lacrosse stick. Women's lacrosse (/wiki/Women%27s_lacrosse) rules do not require glove use, except for goalies (/wiki/Goaltender_(field_lacrosse)) [1] (#cite_note-1) since hitting is not permitted, but some players use smaller gloves for increased grip and minor protection from incidental contact. The size of the glove is an important factor for players to consider, also including protective functionality, and what material the gloves are made out of. Ventilation, and dexterity can also be important factors. Many modern gloves offer a wrist cuff which can be adjusted by various means to fit securely to the player's wrist and provide the player with greater control of comfort and protection. [2] (#cite_note-2) See also [ edit ] Fashion portal (/wiki/Portal:Fashion) Baseball glove (/wiki/Baseball_glove) Batting glove (/wiki/Batting_glove) Boxing glove (/wiki/Boxing_glove) Cycling glove (/wiki/Cycling_glove) Driving glove (/wiki/Driving_glove) Goalkeeper glove (/wiki/Goalkeeper_glove) Golf gloves (/wiki/Golf_gloves) Glove (ice hockey) (/wiki/Glove_(ice_hockey)) MMA gloves (/wiki/MMA_gloves) Wicket-keeper's gloves (/wiki/Wicket-keeper%27s_gloves) References [ edit ] ^ (#cite_ref-1) "Equipment for Girls' and Women's Lacrosse" (https://www.uslacrosse.org/safety/equipment/player-equipment) . USLacrosse . Retrieved August 22, 2019 . ^ (#cite_ref-2) "Lacrosse.com Gloves - Gear Guide" (https://web.archive.org/web/20120121033622/http://www.lacrosse.com/sections/gearguide/index.php) . Lacrosse.com. Archived from the original (http://www.lacrosse.com/sections/gearguide/index.php) on 2012-01-21 . 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You can help Wikipedia by expanding it (https://en.wikipedia.org/w/index.php?title=Lacrosse_glove&action=edit) . v t e This lacrosse (/wiki/Lacrosse) -related article is a stub (/wiki/Wikipedia:Stub) . 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Art of applying design and aesthetics to clothing and accessories Fashion designers in 1974 in Dresden. Fashion design is the art (/wiki/Art_(skill)) of applying (/wiki/Applied_arts) design (/wiki/Design) , aesthetics (/wiki/Aesthetics) , clothing construction and natural beauty to clothing (/wiki/Clothing) and its accessories (/wiki/Fashion_accessory) . It is influenced by culture and different trends, and has varied over time and place. "A fashion designer creates clothing, including dresses, suits, pants, and skirts, and accessories like shoes and handbags, for consumers. He or she can specialize in clothing, accessory, or jewelry (/wiki/Jewellery) design, or may work in more than one of these areas." [1] (#cite_note-1) Fashion designers typically use a runway of models to showcase their work. Fashion designers [ edit ] ' Fashion designers work in a variety of different ways when designing their pieces and accessories such as rings, bracelets, necklaces and earrings. Due to the time required to put a garment out in market, designers must anticipate changes to consumer desires (/wiki/Fashion_forecasting) . Fashion designers are responsible for creating looks for individual garments, involving shape, color, fabric, trimming, and more. [2] (#cite_note-:02-2) Fashion designers attempt to design clothes that are functional as well as aesthetically pleasing. They consider who is likely to wear a garment and the situations in which it will be worn, and they work within a wide range of materials, colors, patterns (/wiki/Pattern) , and styles. Though most clothing worn for everyday wear falls within a narrow range of conventional styles, unusual garments are usually sought for special occasions such as evening wear (/wiki/Formal_wear) or party dresses (/wiki/Dress) . Some clothes are made specifically for an individual, as in the case of haute couture (/wiki/Haute_couture) or bespoke tailoring (/wiki/Bespoke_tailoring) . Today, most clothing is designed for the mass market (/wiki/Mass_market) , especially casual and everyday wear, which are commonly known as ready to wear (/wiki/Ready_to_wear) or fast fashion (/wiki/Fast_fashion) . Structure [ edit ] There are different lines of work for designers in the fashion industry. Fashion designers that work full-time for one fashion house, as 'in-house designers', own the designs and may either work alone or as a part of a design team. Freelance designers who work for themselves, sell their designs to fashion houses, directly to shops, or to clothing manufacturers. There are quite a few fashion designers who choose to set up their own labels, which offers them full control over their designs. While others are self-employed and design for individual clients. Other high-end (/wiki/High-end) fashion designers cater to specialty stores or high-end fashion department stores. These designers create original garments, as well as those that follow established fashion trends. Most fashion designers, however, work for apparel manufacturers, creating designs of men's, women's, and children's fashions for the mass market. Large designer brands that have a 'name' as their brand such as Abercrombie & Fitch (/wiki/Abercrombie_%26_Fitch) , Justice (/wiki/Justice_(store)) , or Juicy (/wiki/Juicy_Couture) are likely to be designed by a team of individual designers under the direction of a design director. Designing a garment [ edit ] Fashion designers work in various ways, some start with a vision in their head and later on move into drawing it on paper or computer , while others go directly into draping fabric onto a dress form, also known as a mannequin. The design process is unique to the designer and it is rather intriguing to see the various steps that go into the process. A designer may choose to work with certain apps that are able to help connect all their ideas together and expand their thoughts to create a cohesive design. When a designer is completely satisfied with the fit of the toile (or muslin), they will consult a professional pattern maker who then makes the finished, working version of the pattern out of card or via a computer program. Finally, a sample garment is made up and tested on a model to make sure it is an operational outfit. Fashion design is expressive, the designers create art that may be functional or non-functional. History [ edit ] The Chéruit (/wiki/Louise_Ch%C3%A9ruit) salon on Place Vendôme (/wiki/Place_Vend%C3%B4me) in Paris, 1910 Main article: History of fashion design (/wiki/History_of_fashion_design) Modern Western fashion design is often considered to have started in the 19th century with Charles Frederick Worth (/wiki/Charles_Frederick_Worth) who was the first designer to have his label (/wiki/Label) sewn into the garments that he created. Before the former draper (/wiki/Draper) set up his maison couture (fashion house) in Paris (/wiki/Paris) , clothing design and creation of the garments were handled largely by anonymous seamstresses. At the time high fashion descended from what was popularly worn at royal courts. Worth's success was such that he was able to dictate to his customers what they should wear, instead of following their lead as earlier dressmakers had done. The term couturier was in fact first created in order to describe him. While all articles of clothing from any time period are studied by academics as costume design (/wiki/Costume_design) , only clothing created after 1858 is considered fashion design. [3] (#cite_note-3) It was during this period that many design houses began to hire artists to sketch or paint designs for garments. Rather than going straight into manufacturing, the images were shown to clients to gain approval, which saved time and money for the designer. If the client liked their design, the patrons commissioned the garment from the designer, and it was produced for the client in the fashion house. This designer-patron construct launched designers sketching their work rather than putting the completed designs on models. Types of fashion [ edit ] Garments produced by clothing manufacturers fall into three main categories, although these may be split up into additional, different types. Haute couture [ edit ] Main article: Haute couture (/wiki/Haute_couture) Until the 1950s, fashion clothing was predominately designed and manufactured on a made-to-measure (/wiki/Made-to-measure) or haute couture (/wiki/Haute_couture) basis ( French (/wiki/French_language) for high-sewing), with each garment being created for a specific client. A couture garment is made to order for an individual customer, and is usually made from high-quality, expensive fabric, sewn with extreme attention to detail and finish, often using time-consuming, hand-executed techniques. Look and fit take priority over the cost of materials and the time it takes to make. [4] (#cite_note-4) [5] (#cite_note-5) Due to the high cost of each garment, haute couture makes little direct profit for the fashion houses, but is important for prestige and publicity. [6] (#cite_note-6) Ready-to-wear (prêt-à-porter) [ edit ] Main article: Ready-to-wear (/wiki/Ready-to-wear) Ready-to-wear, or prêt-à-porter, clothes are a cross between haute couture and mass market. They are not made for individual customers, but great care is taken in the choice and cut of the fabric. Clothes are made in small quantities to guarantee exclusivity, so they are rather expensive. Ready-to-wear collections are usually presented by fashion houses each season during a period known as Fashion Week (/wiki/Fashion_Week) . This takes place on a citywide basis and occurs twice a year. The main seasons of Fashion Week include; spring/summer, fall/winter, resort, swim, and bridal. Half-way garments are an alternative to ready-to-wear, "off-the-peg", or prêt-à-porter fashion. Half-way garments are intentionally unfinished pieces of clothing that encourage co-design between the "primary designer" of the garment, and what would usually be considered, the passive "consumer". [7] (#cite_note-HirNim-7) This differs from ready-to-wear fashion, as the consumer is able to participate in the process of making and co-designing their clothing. During the Make{able} workshop, Hirscher and Niinimaki found that personal involvement in the garment-making process created a meaningful "narrative" for the user, which established a person-product attachment and increased the sentimental value of the final product. [7] (#cite_note-HirNim-7) Otto von Busch also explores half-way garments and fashion co-design in his thesis, "Fashion-able, Hacktivism and engaged Fashion Design". [8] (#cite_note-8) Mass market [ edit ] Main article: Mass market (/wiki/Mass_market) Currently, the fashion industry (/wiki/Fashion_industry) relies more on mass-market sales. The mass market caters for a wide range of customers, producing ready-to-wear garments using trends set by the famous names in fashion. They often wait around a season to make sure a style is going to catch on before producing their versions of the original look. To save money and time, they use cheaper fabrics and simpler production techniques which can easily be done by machines. The end product can, therefore, be sold much more cheaply. [9] (#cite_note-9) [10] (#cite_note-10) [11] (#cite_note-11) There is a type of design called "kutch" originated from the German word kitschig , meaning "trashy" or "not aesthetically pleasing". Kitsch can also refer to "wearing or displaying something that is therefore no longer in fashion". [12] (#cite_note-12) Income [ edit ] The median annual wages for salaried fashion designers was $74,410 in February of 2023. The middle 50 percent earned an average of 76,700. The lowest 10 percent earned 32,320 and the highest 10 percent earned 130,900. [13] (#cite_note-13) Median annual earnings in May 2008 were $52,860 (£40,730.47) in apparel, piece goods, and notions - the industry employing the largest numbers of fashion designers. [14] (#cite_note-14) In 2016, 23,800 people were counted as fashion designers in the United States. [15] (#cite_note-15) Fashion industry [ edit ] Men pulling carts of women's clothing in Garment District (/wiki/Garment_District,_Manhattan) , New York, 1955 Fashion today is a global industry, and most major countries have a fashion industry. Seven countries have established an international reputation in fashion: the United States (/wiki/Fashion_in_the_United_States) , France (/wiki/French_fashion) , Italy (/wiki/Italian_fashion) , United Kingdom (/wiki/United_Kingdom) , Japan (/wiki/Japanese_Fashion) , Germany (/wiki/German_fashion) and Belgium (/wiki/Belgium) . The "big four" fashion capitals (/wiki/Fashion_capital) of the fashion industry are New York City (/wiki/New_York_Fashion_Week) , Paris (/wiki/Paris) , Milan (/wiki/Milan) , and London (/wiki/London) . United States [ edit ] Main article: Fashion in the United States (/wiki/Fashion_in_the_United_States) Fashion show at a fashion designing college, US, 2015 The United States is home to the largest, wealthiest, and most multi-faceted fashion industry. Most fashion houses in the United States (/wiki/United_States) are based in New York City (/wiki/New_York_City) , with a high concentration centered in the Garment District (/wiki/Garment_District,_New_York_City) neighborhood. On the US west coast, there is also to a lesser extent a significant number of fashion houses in Los Angeles (/wiki/Los_Angeles) , where a substantial percentage of high fashion clothing manufactured in the United States is actually made. Miami (/wiki/Miami) has also emerged as a new fashion hub, especially in regards to swimwear (/wiki/Swimwear) and other beach-oriented fashion. A semi-annual event held every February and September, New York Fashion Week (/wiki/New_York_Fashion_Week) is the oldest of the four major fashion weeks (/wiki/Fashion_week) held throughout the world. Parsons The New School for Design (/wiki/Parsons_The_New_School_for_Design) , located in the Greenwich Village (/wiki/Greenwich_Village) neighborhood of Lower Manhattan (/wiki/Lower_Manhattan) in New York City, is considered one of the top fashion schools in the world. There are numerous fashion magazines published in the United States and distributed to a global readership. Examples include Vogue (/wiki/Vogue_(magazine)) , Harper's Bazaar (/wiki/Harper%27s_Bazaar) , and Cosmopolitan (/wiki/Cosmopolitan_(magazine)) . American fashion design is highly diverse, reflecting the enormous ethnic diversity of the population, but is largely dominated by a clean-cut, urban, hip aesthetic, and often favors a more casual style, reflecting the athletic (/wiki/Athlete) , health-conscious lifestyles of the suburban and urban middle classes. The annual Met Gala (/wiki/Met_Gala) ceremony in Manhattan (/wiki/Manhattan) is widely regarded as the world's most prestigious haute couture (/wiki/Haute_couture) fashion event and is a venue where fashion designers and their creations are celebrated. Social media (/wiki/Social_media) is also a place where fashion is presented most often. Some influencers are paid huge amounts of money to promote a product or clothing item, where the business hopes many viewers will buy the product off the back of the advertisement. Instagram is the most popular platform for advertising, but Facebook, Snapchat, Twitter and other platforms are also used. [16] (#cite_note-16) In New York, the LGBT fashion design community (/wiki/List_of_LGBT_people_from_New_York_City#Fashion) contributes very significantly to promulgating fashion trends, and drag celebrities (/wiki/List_of_LGBT_people_from_New_York_City#Drag) have developed a profound influence upon New York Fashion Week (/wiki/New_York_Fashion_Week) . [17] (#cite_note-DragQueensNewYorkFashionWeek-17) [18] (#cite_note-18) Prominent American brands and designers include Calvin Klein (/wiki/Calvin_Klein_(company)) , Ralph Lauren (/wiki/Ralph_Lauren_Corporation) , Coach (/wiki/Coach_New_York) , Nike (/wiki/Nike,_Inc.) , Vans (/wiki/Vans) , Marc Jacobs (/wiki/Marc_Jacobs) , Tommy Hilfiger (/wiki/Tommy_Hilfiger_Corporation) , DKNY (/wiki/Donna_Karan_New_York) , Tom Ford (/wiki/Tom_Ford) , Caswell-Massey (/wiki/Caswell-Massey) , Michael Kors (/wiki/Michael_Kors) , Levi Strauss and Co. (/wiki/Levi_Strauss_and_Co.) , Estée Lauder (/wiki/Est%C3%A9e_Lauder_(businesswoman)) , Revlon (/wiki/Revlon) , Kate Spade (/wiki/Kate_Spade) , Alexander Wang (/wiki/Alexander_Wang_(designer)) , Vera Wang (/wiki/Vera_Wang) , Victoria's Secret (/wiki/Victoria%27s_Secret) , Tiffany and Co. (/wiki/Tiffany_and_Co.) , Converse (/wiki/Converse_(shoe_company)) , Oscar de la Renta (/wiki/Oscar_de_la_Renta) , John Varvatos (/wiki/John_Varvatos) , Anna Sui (/wiki/Anna_Sui) , Prabal Gurung (/wiki/Prabal_Gurung) , Bill Blass (/wiki/Bill_Blass) , Halston (/wiki/Halston) , Carhartt (/wiki/Carhartt) , Brooks Brothers (/wiki/Brooks_Brothers) , Stuart Weitzman (/wiki/Stuart_Weitzman) , Diane von Furstenberg (/wiki/Diane_von_Furstenberg) , J. Crew (/wiki/J._Crew) , American Eagle Outfitters (/wiki/American_Eagle_Outfitters) , Steve Madden (/wiki/Steve_Madden_(company)) , Abercrombie and Fitch (/wiki/Abercrombie_and_Fitch) , Juicy Couture (/wiki/Juicy_Couture) , Thom Browne (/wiki/Thom_Browne) , Guess (/wiki/Guess_(clothing)) , Supreme (/wiki/Supreme_(clothing)) , and The Timberland Company (/wiki/The_Timberland_Company) . Belgium [ edit ] In the late 1980s and early 1990s, Belgian (/wiki/Belgium) fashion designers brought a new fashion image that mixed East and West, and brought a highly individualised, personal vision on fashion. Well known Belgian designers are the Antwerp Six (/wiki/Antwerp_Six) : Ann Demeulemeester (/wiki/Ann_Demeulemeester) , Dries Van Noten (/wiki/Dries_Van_Noten) , Dirk Bikkembergs (/wiki/Dirk_Bikkembergs) , Dirk Van Saene (/wiki/Dirk_Van_Saene) , Walter Van Beirendonck (/wiki/Walter_Van_Beirendonck) and Marina Yee, as well as Martin Margiela (/wiki/Martin_Margiela) , Raf Simons (/wiki/Raf_Simons) , Kris Van Assche (/wiki/Kris_Van_Assche) , Bruno Pieters (/wiki/Bruno_Pieters) , Anthony Vaccarello (/wiki/Anthony_Vaccarello) . [19] (#cite_note-19) United Kingdom [ edit ] London (/wiki/London) has long been the capital of the United Kingdom (/wiki/United_Kingdom) fashion industry and has a wide range of foreign designs which have integrated with modern British styles. Typical British design is smart but innovative yet recently has become more and more unconventional, fusing traditional styles with modern techniques. Vintage styles play an important role in the British fashion and styling industry. Stylists regularly 'mix and match' the old with the new, which gives British style a unique, bohemian aesthetic. Irish fashion (both design and styling) is also heavily influenced by fashion trends from Britain. Well-known British designers include Thomas Burberry (/wiki/Thomas_Burberry) , Alfred Dunhill (/wiki/Alfred_Dunhill) , Paul Smith (/wiki/Paul_Smith_(fashion_designer)) , Vivienne Westwood (/wiki/Vivienne_Westwood) , Stella McCartney (/wiki/Stella_McCartney) , Jimmy Choo (/wiki/Jimmy_Choo_(fashion_house)) , John Galliano (/wiki/John_Galliano) , John Richmond (/wiki/John_Richmond_(fashion_designer)) , Alexander McQueen (/wiki/Alexander_McQueen) , Matthew Williamson (/wiki/Matthew_Williamson) , Gareth Pugh (/wiki/Gareth_Pugh) , Hussein Chalayan (/wiki/Hussein_Chalayan) and Neil Barrett (/wiki/Neil_Barrett_(fashion_designer)) . France [ edit ] Main article: French fashion (/wiki/French_fashion) Chanel (/wiki/Chanel) Haute Couture (/wiki/Haute_Couture) Fall-Winter 2011–2012 Fashion Show Most French fashion houses are in Paris (/wiki/Paris) , which is the capital of French fashion (/wiki/French_fashion) . Traditionally, French fashion is chic (/wiki/Chic_(style)) and stylish, defined by its sophistication, cut, and smart accessories. French fashion is internationally acclaimed. Spain [ edit ] Madrid (/wiki/Madrid) and Barcelona (/wiki/Barcelona) are the main fashion centers in Spain. Spanish fashion is often more conservative and traditional but also more 'timeless' than other fashion cultures. Spaniards are known not to take great risks when dressing. [20] (#cite_note-20) [21] (#cite_note-GQ-21) Nonetheless, many of the fashion brands and designers coming from Spain. The most notable luxury houses are Loewe (/wiki/Loewe_(fashion_brand)) and Balenciaga (/wiki/Balenciaga) . Famous designers include Manolo Blahnik (/wiki/Manolo_Blahnik) , Elio Berhanyer (/wiki/Elio_Berhanyer) , Cristóbal Balenciaga (/wiki/Crist%C3%B3bal_Balenciaga) , Paco Rabanne (/wiki/Paco_Rabanne) , Adolfo Domínguez (/wiki/Adolfo_Dom%C3%ADnguez) , Manuel Pertegaz (/wiki/Manuel_Pertegaz) , Jesús del Pozo (/wiki/Jes%C3%BAs_del_Pozo) , Felipe Varela (/wiki/Felipe_Varela) and Agatha Ruiz de la Prada (/wiki/Agatha_Ruiz_de_la_Prada) . Spain is also home to large fashion brands such as Zara (/wiki/Zara_(retailer)) , Massimo Dutti (/wiki/Massimo_Dutti) , Bershka (/wiki/Bershka) , Pull&Bear (/wiki/Pull%26Bear) , Mango (/wiki/Mango_(retailer)) , Desigual (/wiki/Desigual) , Pepe Jeans (/wiki/Pepe_Jeans) and Camper (/wiki/Camper_(company)) . Germany [ edit ] Main article: German fashion (/wiki/German_fashion) Berlin (/wiki/Berlin) is the centre of fashion in Germany (prominently displayed at Berlin Fashion Week (/wiki/Berlin_Fashion_Week) ), while Düsseldorf (/wiki/D%C3%BCsseldorf) holds Europe's largest fashion trade fairs with Igedo . Other important centres of the scene are Munich (/wiki/Munich) , Hamburg (/wiki/Hamburg) , and Cologne (/wiki/Cologne) . German fashion (/wiki/German_fashion) is known for its elegant lines as well as unconventional young designs and the great variety of styles. India [ edit ] Most of the Indian fashion houses are in Mumbai, Lakme Fashion Week (/wiki/Lakme_Fashion_Week) is considered one of the premier fashion events in the country. [ citation needed ] Italy [ edit ] Red carpet fashion (/wiki/Red_carpet_fashion) : Italian actors Gabriel Garko (/wiki/Gabriel_Garko) and Laura Torrisi (/wiki/Laura_Torrisi) wearing designer formal wear (/wiki/Formal_wear) at Venice Film Festival (/wiki/Venice_Film_Festival) , 2009 Main article: Italian fashion (/wiki/Italian_fashion) Milan (/wiki/Milan) is Italy's fashion capital. Most of the older Italian couturiers are in Rome (/wiki/Rome) . However, Milan and Florence (/wiki/Florence) are the Italian fashion (/wiki/Italian_fashion) capitals, and it is the exhibition venue for their collections. Italian fashion features casual and glamorous elegance. In Italy, Milan Fashion Week takes place twice a year in February and September. Milan Fashion week puts fashion in the spotlight and celebrates it in the heart of Milan with fashion lovers, buyers and media. Japan [ edit ] Most Japanese (/wiki/Culture_of_Japan) fashion houses are in Tokyo (/wiki/Tokyo) which is home to Tokyo Fashion Week (/wiki/Tokyo_Fashion_Week) , Asia's largest fashion week. The Japanese look is loose and unstructured (often resulting from complicated cutting), colors tend to the sombre and subtle, and richly textured fabrics. Famous Japanese designers include Kenzo Takada (/wiki/Kenzo_Takada) , Issey Miyake (/wiki/Issey_Miyake) , Yohji Yamamoto (/wiki/Yohji_Yamamoto) and Rei Kawakubo (/wiki/Rei_Kawakubo) . China [ edit ] Chinese clothing has historically been associated with lower quality both inside and outside China, leading to a stigma on Chinese brands. Due to government censorship, Chinese citizens were only able to access fashion magazines in the 1990s. [22] (#cite_note-:6-22) However, as more and more Chinese designers matriculate from the world's top fashion schools, Chinese designers such as Shushu/Tong (/wiki/Shushu/Tong) and Rui Zhou (/w/index.php?title=Rui_Zhou&action=edit&redlink=1) have made their way into the world's top fashion weeks, and Shanghai has become a fashion hub in China. [23] (#cite_note-:0-23) [22] (#cite_note-:6-22) In the early 2020s, Gen Z (/wiki/Gen_z) shoppers pioneered the guochao ( Chinese (/wiki/Chinese_language) : 国潮 ; pinyin (/wiki/Pinyin) : Guó cháo ) movement , a trend of preferring homegrown designers which incorporate aspects of Chinese history and culture. [23] (#cite_note-:0-23) Hong Kong (/wiki/Hong_Kong) clothing brand Shanghai Tang (/wiki/Shanghai_Tang) 's design concept is inspired by Chinese clothing and set out to rejuvenate Chinese fashion of the 1920s and 30s, with a modern twist of the 21st century and its usage of bright colours. [24] (#cite_note-24) Additionally, a revival in interest in traditional Han clothing (/wiki/Hanfu_Movement) has led to interest in haute couture clothing with historical Chinese details, particularly around Chinese New Year (/wiki/Chinese_New_Year) . [25] (#cite_note-25) Soviet Union [ edit ] Main article: Fashion in the Soviet Union (/wiki/Fashion_in_the_Soviet_Union) Fashion in the Soviet Union (/wiki/Soviet_Union) largely followed general trends of the Western world. However, the state's socialist ideology (/wiki/Socialism) consistently moderated and influenced these trends. In addition, shortages of consumer goods (/wiki/Consumer_goods_in_the_Soviet_Union) meant that the general public did not have ready access to pre-made fashion. Switzerland [ edit ] Most of the Swiss fashion houses are in Zürich (/wiki/Z%C3%BCrich) . [26] (#cite_note-26) The Swiss look is casual elegant and luxurious with a slight touch of quirkiness. Additionally, it has been greatly influenced by the dance club scene. Mexico [ edit ] In the development of Mexican indigenous dress, the fabrication was determined by the materials and resources that are available in specific regions, impacting the "fabric, shape and construction of a people's clothing". [27] (#cite_note-worldwidehistory00anaw-27) Textiles were created from plant fibers including cotton and agave. Class status differentiated what fabric was worn. Mexican dress was influenced by geometric shapes to create the silhouettes. Huipil a blouse characterized by a "loose, sleeveless tunic made of two or three joined webs of cloth sewn lengthwise" [27] (#cite_note-worldwidehistory00anaw-27) is an important historical garment, often seen today. After the Spanish Conquest, traditional Mexican clothing shifted to take a Spanish resemblance. Mexican indigenous groups rely on specific embroidery and colors to differentiate themselves from each other. [28] (#cite_note-Valdiosera,_Ramón_2013,_pp._60-28) Mexican Pink (/wiki/Mexican_pink) is a significant color to the identity of Mexican art and design and general spirit. The term "Rosa Mexicano" as described by Ramón Valdiosera was established by prominent figures such as Dolores del Río and designer Ramón Val in New York. [28] (#cite_note-Valdiosera,_Ramón_2013,_pp._60-28) When newspapers and magazines such as El Imparcial and El Mundo Ilustrado circulated in Mexico, became a significant movement, as it informed the large cities, such as Mexico City, of European fashions. This encouraged the founding of department stores, changing the existent pace of fashion. [29] (#cite_note-29) With access to European fashion and dress, those with high social status relied on adopting those elements to distinguish themselves from the rest. Juana Catarina Romero was a successful entrepreneur and pioneer in this movement. Fashion design terms [ edit ] A fashion designer conceives garment combinations of line, proportion, color, and texture. While sewing and pattern-making skills are beneficial, they are not a pre-requisite of successful fashion design. Most fashion designers are formally trained or apprenticed. A technical designer works with the design team and the factories overseas to ensure correct garment construction, appropriate fabric choices and a good fit. The technical designer fits the garment samples on a fit model, and decides which fit and construction changes to make before mass-producing the garment. A pattern maker (/wiki/Pattern_(sewing)) ( also referred as pattern master or pattern cutter ) drafts the shapes and sizes of a garment's pieces. This may be done manually with paper and measuring tools or by using a CAD computer software program. Another method is to drape fabric directly onto a dress form. The resulting pattern pieces can be constructed to produce the intended design of the garment and required size. Formal training is usually required for working as a pattern marker. A tailor (/wiki/Tailor) makes custom designed garments made to the client's measure; especially suits (coat and trousers, jacket and skirt, et cetera). Tailors usually undergo an apprenticeship or other formal training. A textile designer (/wiki/Textiles) designs fabric weaves and prints for clothes and furnishings. Most textile designers are formally trained as apprentices and in school. A stylist (/wiki/Wardrobe_stylist) co-ordinates the clothes, jewelry, and accessories used in fashion photography and catwalk presentations. A stylist may also work with an individual client to design a coordinated wardrobe of garments. Many stylists are trained in fashion design, the history of fashion, and historical costume, and have a high level of expertise in the current fashion market and future market trends. However, some simply have a strong aesthetic sense for pulling great looks together. A fashion buyer (/wiki/Fashion_buyer) selects and buys the mix of clothing available in retail shops, department stores, and chain stores. Most fashion buyers are trained in business and/or fashion studies. A seamstress (/wiki/Seamstress) sews ready-to-wear or mass-produced clothing by hand or with a sewing machine, either in a garment shop or as a sewing machine operator in a factory. She (or he) may not have the skills to make (design and cut) the garments, or to fit them on a model. A dressmaker (/wiki/Dressmaker) specializes in custom-made women's clothes: day, cocktail, and evening dresses, business clothes and suits, trousseaus, sports clothes, and lingerie. A fashion forecaster (/wiki/Fashion_forecasting) predicts what colours (/wiki/Color) , styles and shapes will be popular ("on-trend") before the garments are on sale in stores. A model (/wiki/Fashion_model) wears and displays clothes at fashion shows and in photographs. A fit model (/wiki/Fit_model) aids the fashion designer by wearing and commenting on the fit of clothes during their design and pre-manufacture. Fit models need to be a particular size for this purpose. A fashion journalist (/wiki/Fashion_journalism) writes fashion articles describing the garments presented or fashion trends, for magazines or newspapers. A fashion photographer produces photographs about garments and other fashion items along with models and stylists for magazines or advertising agencies. [30] (#cite_note-30) See also [ edit ] Fashion (/wiki/Fashion) Fashion design copyright (/wiki/Fashion_design_copyright) History of western fashion (/wiki/History_of_western_fashion) List of fashion designers (/wiki/List_of_fashion_designers) List of fashion education programs (/wiki/List_of_fashion_education_programs) List of fashion topics (/wiki/List_of_fashion_topics) Runway (fashion) (/wiki/Runway_(fashion)) Deconstruction (fashion) (/wiki/Deconstruction_(fashion)) Sustainable fashion (/wiki/Sustainable_fashion) Textile design (/wiki/Textile_design) Western dress codes (/wiki/Western_dress_codes) References [ edit ] ^ (#cite_ref-1) McKay, Dawn Rosenberg. "What Does a Fashion Designer Do?" (https://www.thebalancecareers.com/fashion-designer-526016#:~:text=A%20fashion%20designer%20creates%20clothing%2C%20including%20dresses%2C%20suits%2C,work%20in%20more%20than%20one%20of%20these%20areas.) . the balance careers . ^ (#cite_ref-:02_2-0) Sterlacci, Francesca. "What Is a Fashion Designer?" (http://fashion-history.lovetoknow.com) . Love to Know . ^ (#cite_ref-3) "fashion industry | Design, Fashion Shows, Marketing, & Facts" (https://www.britannica.com/art/fashion-industry) . Encyclopedia Britannica . Retrieved 2020-10-14 . ^ (#cite_ref-4) "What is Haute Couture?" (https://web.archive.org/web/20180612162836/http://www.hautecouturenews.com/what-is-haute-couture/) . Haute Couture Hot . HauteCoutureNews.com. Archived from the original (http://www.hautecouturenews.com/what-is-haute-couture/) on 12 June 2018 . Retrieved 13 May 2012 . ^ (#cite_ref-5) Pauline Weston Thomas. "Haute Couture Fashion History" (http://fashion-era.com/haute_couture.htm) (Article) . Fashion-Era.com . Retrieved 13 May 2012 . ^ (#cite_ref-6) "Haute couture: Making a loss is the height of fashion" (http://fashion.telegraph.co.uk/news-features/TMG7883236/Haute-couture-Making-a-loss-is-the-height-of-fashion.html) . telegraph.co.uk . ^ Jump up to: a b Hirscher and Niinimaki. Fashion Activism through Participatory Design. 10th European Academy of Design Conference, Crafting the Future, April 2013, Helsinki, Finland. https://www.researchgate.net/publication/304354045_Fashion_Activism_through_Participatory_Design (https://www.researchgate.net/publication/304354045_Fashion_Activism_through_Participatory_Design) ^ (#cite_ref-8) von Busch, O. Fashion-able, Hacktivism and engaged Fashion Design, Ph.D. Thesis, School of Design and Crafts (HDK), Gothenburg. 2008, https://gupea.ub.gu.se/bitstream/2077/17941/3/gupea_2077_17941_3.pdf (https://gupea.ub.gu.se/bitstream/2077/17941/3/gupea_2077_17941_3.pdf) . ^ (#cite_ref-9) Catherine Valenti (1 May 2012). "Designers Flock to Mass-Market Retailers" (https://abcnews.go.com/Business/story?id=87177&page=1#.T68WL9kZHIU) (Article) . ABC News . Retrieved 13 May 2012 . ^ (#cite_ref-10) Sameer Reddy (31 October 2008). "Out from Underground" (http://www.thedailybeast.com/newsweek/2008/10/31/out-from-underground.html) (Article) . 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"How brands can tap the booming Chinese 'old money style' (https://jingdaily.com/posts/how-brands-can-tap-the-booming-chinese-old-money-style) " (https://jingdaily.com/posts/how-brands-can-tap-the-booming-chinese-old-money-style) . Jing Daily . Retrieved 2024-05-10 . ^ (#cite_ref-26) "Zurich labels" (http://www.zuerich.com/files/?id=40184) . Zurich labels: Media Information . Zurich Tourism. January 2012 . Retrieved 13 May 2012 . ^ Jump up to: a b Anawalt, Patricia Rieff (2007). The worldwide history of dress: with over 1000 illustrations, 900 in color . Thames & Hudson. ISBN (/wiki/ISBN_(identifier)) 978-0-500-51363-7 . OCLC (/wiki/OCLC_(identifier)) 864489266 (https://www.worldcat.org/oclc/864489266) . ^ Jump up to: a b Valdiosera, Ramón. “Rosa Mexicano: Moda y Marca.” Artes De México, no. 111, 2013, pp. 60–65. ^ (#cite_ref-29) Chassen-López, Francie. "The Traje de Tehuana as National Icon: Gender, Ethnicity, and Fashion in Mexico." The Americas, vol. 71 no. 2, 2014, p. 281-314. Project MUSE, doi (/wiki/Doi_(identifier)) : 10.1353/tam.2014.0134 (https://doi.org/10.1353%2Ftam.2014.0134) ^ (#cite_ref-30) Aspers, Patrik (2001). "A MARKET IN VOGUE Fashion photography in Sweden" (http://www.tandfonline.com/doi/abs/10.1080/14616690120046923) . European Societies . 3 (1): 1–22. doi (/wiki/Doi_(identifier)) : 10.1080/14616690120046923 (https://doi.org/10.1080%2F14616690120046923) . ISSN (/wiki/ISSN_(identifier)) 1461-6696 (https://www.worldcat.org/issn/1461-6696) . S2CID (/wiki/S2CID_(identifier)) 144948226 (https://api.semanticscholar.org/CorpusID:144948226) . Bibliography [ edit ] Breward, Christopher, The culture of fashion: a new history of fashionable dress , Manchester: Manchester University Press, 2003, ISBN (/wiki/ISBN_(identifier)) 978-0-7190-4125-9 (/wiki/Special:BookSources/978-0-7190-4125-9) Hollander, Anne, Seeing through clothes , Berkeley: University of California Press, 1993, ISBN (/wiki/ISBN_(identifier)) 978-0-520-08231-1 (/wiki/Special:BookSources/978-0-520-08231-1) Hollander, Anne, Sex and suits: the evolution of modern dress , New York: Knopf, 1994, ISBN (/wiki/ISBN_(identifier)) 978-0-679-43096-4 (/wiki/Special:BookSources/978-0-679-43096-4) Hollander, Anne, Feeding the eye: essays , New York: Farrar, Straus, and Giroux, 1999, ISBN (/wiki/ISBN_(identifier)) 978-0-374-28201-1 (/wiki/Special:BookSources/978-0-374-28201-1) Hollander, Anne, Fabric of vision: dress and drapery in painting , London: National Gallery, 2002, ISBN (/wiki/ISBN_(identifier)) 978-0-300-09419-0 (/wiki/Special:BookSources/978-0-300-09419-0) Kawamura, Yuniya, Fashion-ology: an introduction to Fashion Studies , Oxford and New York: Berg, 2005, ISBN (/wiki/ISBN_(identifier)) 1-85973-814-1 (/wiki/Special:BookSources/1-85973-814-1) Lipovetsky, Gilles (translated by Catherine Porter), The empire of fashion: dressing modern democracy , Woodstock: Princeton University Press, 2002, ISBN (/wiki/ISBN_(identifier)) 978-0-691-10262-7 (/wiki/Special:BookSources/978-0-691-10262-7) McDermott, Kathleen, Style for all: why fashion, invented by kings, now belongs to all of us (An illustrated history) , 2010, ISBN (/wiki/ISBN_(identifier)) 978-0-557-51917-0 (/wiki/Special:BookSources/978-0-557-51917-0) — Many hand-drawn color illustrations, extensive annotated bibliography and reading guide Mckay Rosenberg, Dawn, Fashion designer job description: Salary, skills, & more. Retrieved May 10, 2021, from https://www.thebalancecareers.com/fashion-designer-526016 Perrot, Philippe (translated by Richard Bienvenu), Fashioning the bourgeoisie: a history of clothing in the nineteenth century , Princeton NJ: Princeton University Press, 1994, ISBN (/wiki/ISBN_(identifier)) 978-0-691-00081-7 (/wiki/Special:BookSources/978-0-691-00081-7) Steele, Valerie, Paris fashion: a cultural history , (2. ed., rev. and updated), Oxford: Berg, 1998, ISBN (/wiki/ISBN_(identifier)) 978-1-85973-973-0 (/wiki/Special:BookSources/978-1-85973-973-0) Steele, Valerie, Fifty years of fashion: new look to now , New Haven: Yale University Press, 2000, ISBN (/wiki/ISBN_(identifier)) 978-0-300-08738-3 (/wiki/Special:BookSources/978-0-300-08738-3) Steele, Valerie, Encyclopedia of clothing and fashion , Detroit: Thomson Gale, 2005 Strijbos, Bram. (2021, May 10). All the news about Milan Fashion week on FashionUnited. Retrieved May 10, 2021, from https://fashionweekweb.com/milan-fashion-week Sterlacci, Francesca. (n.d.). What is a fashion designer? Retrieved May 10, 2021, from https://fashion-history.lovetoknow.com/fashion-clothing-industry/what-is-fashion-designer Fashion portal (/wiki/Portal:Fashion) Wikimedia Commons has media related to Design of fashion (https://commons.wikimedia.org/wiki/Category:Design_of_fashion) . 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Traditional Indonesian woven fabric For the school, see TAIS (/wiki/TAIS) . Tais The Honolulu Museum of Art (/wiki/Honolulu_Museum_of_Art) collection of Tais sui bobonat from the North Biboki district of North Central Timor Regency (/wiki/North_Central_Timor_Regency) , West Timor (/wiki/West_Timor) , Indonesia (/wiki/Indonesia) Type Art fabric Material Cotton (/wiki/Cotton) Production method Tenun (/wiki/Tenun) weaving (/wiki/Weaving) Production process Handicraft (/wiki/Handicraft) Place of origin Selaru Island (/wiki/Selaru_Island) of Tanimbar Islands (/wiki/Tanimbar_Islands) (originally), Maluku Islands (/wiki/Maluku_Islands) and East Nusa Tenggara Islands (/wiki/East_Nusa_Tenggara) (in Timor Island (/wiki/Timor_Island) ; divided into West Timor (/wiki/West_Timor) of Indonesia (/wiki/Indonesia) and Timor Leste (/wiki/Timor_Leste) ) Tais, traditional textile UNESCO Intangible Cultural Heritage (/wiki/UNESCO_Intangible_Cultural_Heritage_Lists) Woman in Cova Lima (/wiki/Cova_Lima) weaving tais in 2009 Country East Timor (/wiki/East_Timor) Reference 01688 (https://ich.unesco.org/en/RL/01688) Region Asia and the Pacific (/wiki/Template:UNESCO_Representative_List_of_the_Intangible_Cultural_Heritage_of_Humanity/APA) Inscription history Inscription 2021 (16th session) List (/wiki/Masterpieces_of_the_Oral_and_Intangible_Heritage_of_Humanity) Need of Urgent Safeguarding Tais is a form of Tenun (/wiki/Tenun) weaving (/wiki/Weaving) tradition native to the eastern Indonesian regions of the Maluku Islands (/wiki/Maluku_Islands) , the Tanimbar Islands (/wiki/Tanimbar_Islands) , and the East Nusa Tenggara Islands (/wiki/East_Nusa_Tenggara) (in Timor Island (/wiki/Timor) , the political government divided into West Timor (/wiki/West_Timor) of Indonesia (/wiki/Indonesia) and Timor Leste (/wiki/Timor_Leste) ). It has become an essential part of people in the eastern Indonesia (/wiki/Indonesia) hemisphere region (as well as Maubere people in Timor Leste (/wiki/Culture_of_East_Timor) ), [1] (#cite_note-turismo-1) which mainly used for ceremonial adornment, sign of respect and appreciation towards guests, friends, relatives, home decor, and personal apparel. Since 2012, Tais officially recognized by the Ministry of Education, Culture, Research, and Technology of Republic Indonesia (/wiki/Ministry_of_Education,_Culture,_Research,_and_Technology) as integral part of the National Intangible Cultural Heritage (/wiki/National_Intangible_Cultural_Heritage_of_Indonesia) of Indonesia (/wiki/Indonesia) . [2] (#cite_note-2) Etymology [ edit ] The term tais is widely encountered from Rote (/wiki/Rote_Island) to the Tanimbar Islands (/wiki/Tanimbar_Islands) and goes back to a Proto-Austronesian (/wiki/Proto-Austronesian) root *tapis that is also attested in Taiwan and the Philippines. [3] (#cite_note-3) [4] (#cite_note-4) History and social role [ edit ] Female Tais weaver in North Central Timor Regency (/wiki/North_Central_Timor_Regency) of East Nusa Tenggara (/wiki/East_Nusa_Tenggara) , Indonesia (/wiki/Indonesia) , c. 1900s A female Tanimbar weaver in Tanimbar Islands (photo from the Tropenmuseum (/wiki/Tropenmuseum) collection) A Tais weaver in Tanimbar Islands (/wiki/Tanimbar_Islands) , 1900s (photo from the Tropenmuseum (/wiki/Tropenmuseum) collection) In ceremonial use, the tais is usually worn along with feathers, coral, gold and/or silver. [5] (#cite_note-strong-5) Still, the sale of tais has become common only in the last thirty years. Although small-scale commerce of tais is an important source of income for women, however, export is difficult and nearly all sales take place with foreigners. [5] (#cite_note-strong-5) In recent years, the public textile market in the capital Dili (/wiki/Dili) has seen an influx of foreign-made weavings, which often look like tais and are sold (and made) more cheaply. [6] (#cite_note-threads-6) Weaving of tais is performed solely by women, with techniques passed down from generation to generation in an oral tradition (/wiki/Oral_tradition) . [1] (#cite_note-turismo-1) [6] (#cite_note-threads-6) [7] (#cite_note-etwa-7) The activity often serves as a community gathering as much as a chore of productivity, and served as a rare form of self-expression in the restrictive environment of the 25-year Indonesian occupation. Tia Veronica Pereira weaves a special tais to commemorate the 1991 Santa Cruz Massacre (/wiki/Dili_Massacre) Tia Veronica Pereira created a black tais with the names of the 271 victims woven in red into it, to commemorate the victims of the 1991 Santa Cruz Massacre (/wiki/Dili_Massacre) . [5] (#cite_note-strong-5) The influence of textiles on the lives of women is reflected in the East Timorese expression "bringing a thread and bobbin" in reference to a newborn child. [5] (#cite_note-strong-5) During the occupation, Indonesian soldiers were a considerable market for tais weavers. In the 1970s, tais for the first time began to feature inscriptions, usually written in Indonesian (/wiki/Indonesian_language) . In the era of independence, tais artisans have begun specializing in customized weavings, as well as tais-like products such as handbags and scarves. [5] (#cite_note-strong-5) Since 1999 workers in NGO's and the UN bought tais to take home as gifts and mementos and new messages found their way into the tais in English and Portuguese as well as Tetun. A quite remarkable fact, given that most of the weavers are found in rural areas where they have not had the opportunity to learn how to read or write. Many people wishing to assist East Timorese women develop income streams have imported tais for sale and assisted weavers and sewing groups to produce items such as purses, bags, cushion covers and baskets that are saleable in Australia and elsewhere. The selling of tais is rapidly moving off-shore as many of the people taking these initiatives belong to Local Government Friendship groups in Australia. [8] (#cite_note-8) An East Timorese man in traditional attire, including tais mane Traditional Timorese culture is supported by growing, cutting, tying, knotting, weaving, dying and sheathing a variety of fibres, grasses and leaves for ceremonial and practical purposes. The weaving of the tais plays an integral role in Timorese life and especially women's lives: shaping identity and attitudes towards them. Before the introduction of currency and after, the tais has been used as a valued object of exchange in gifting and ceremonies. Textiles are the art-form of the South-east Asian region and often the most beautiful tais are used to wrap around the bodies of loved ones for burial. Its role in wedding arrangements and the associated family ties, is attributed by some writers with contributing to the maintenance and strength of Timorese identity despite hundreds of years of colonial occupation. A Forum was recently held in Melbourne to stimulate and expand the debate and dialogue about the impact of commodifying the tais because it is a craft grounded in culture and sacred life. [9] (#cite_note-9) Designs [ edit ] Tais in the National Parliament The imagery and patterns of tais vary greatly from region to region, but they often include messages of locale and significant events. [6] (#cite_note-threads-6) Imagery often includes animals such as the crocodile (/wiki/Crocodile) , upon which the creation legend of the island is based. Geometric patterns known as kaif are also employed in most tais. [1] (#cite_note-turismo-1) Styles of tais worn on the body are differentiated by gender: men traditionally wear the tais mane (or "man's cloth"), a single large wrap around the waist usually finished with tassels (/wiki/Tassel) . Women wear the tais feto ("women's cloth"), a form of strapless dress (/wiki/Dress) woven in the shape of a tube. [6] (#cite_note-threads-6) A third type known as the selendang , a slender cloth worn around the neck, has become popular in recent years. [5] (#cite_note-strong-5) Production [ edit ] Women in Lospalos (/wiki/Lospalos) weaving tais in 1986 Using mostly cotton (/wiki/Cotton) threads, the cloth is created during the island's dry season, almost entirely by hand. The use of cotton is a legacy of the Portuguese (/wiki/Portugal) colonial era, when Timor was an important port for the trade in the material. Synthetic fibers like rayon (/wiki/Rayon) , acrylic (/wiki/Acrylic_fiber) and polyester (/wiki/Polyester) are becoming more common as they are imported more cheaply into East Timor. [1] (#cite_note-turismo-1) A single tais can take anywhere from several days to a year, depending on the complexity of design and variety of colors used. [6] (#cite_note-threads-6) Dyes are used to create bright colors in the tais; these are mixed from plants like taun, kinur, and teka. [1] (#cite_note-turismo-1) Other dyes are derived from mango (/wiki/Mango) skin, potato (/wiki/Potato) leaf, cactus (/wiki/Cactus) flowers, and turmeric (/wiki/Turmeric) . [7] (#cite_note-etwa-7) Individuals skilled in mixing dyes are sometimes compared to alchemists (/wiki/Alchemy) , using traditional recipes for creating desired colors. [1] (#cite_note-turismo-1) Although colors carry different associations from village to village, red is often used predominantly, as it is connected to long life and courage, in addition to being the base of the East Timorese flag. [7] (#cite_note-etwa-7) When the United Nations (/wiki/United_Nations) became the administering power in East Timor from 1999 to 2002, tais markets increased production of blue fabrics to match that organization's trademark flag (/wiki/Flag_of_the_United_Nations) . [10] (#cite_note-10) A collection of tais from around East Timor, 2003 One of the most common tools for tais weaving is the back-strap loom, which allows tension on the cloth while the warp (/wiki/Warp_(weaving)) is manipulated. The pressure from the strap and the time required for the intricate designs on many tais produce significant pain for many women. [7] (#cite_note-etwa-7) During the 1999 wave of violence known in East Timor as "Black September", many tais weavers saw their tools and equipment stolen or destroyed. Recent years have also seen a decline in the number of young women learning traditional methods of tais weaving. [6] (#cite_note-threads-6) Regional variations [ edit ] Designs, colors, and styles of tais production vary greatly in each of East Timor's thirteen districts. In the enclave of Oecussi-Ambeno (/wiki/Oecussi-Ambeno) , Portuguese influence is most apparent, with floral and religious imagery predominating alongside subdued shades of black, orange, and yellow. In the capital city Dili (/wiki/Dili) , by contrast, bright colors and solid panels reflect the focus on tais commerce. [1] (#cite_note-turismo-1) In the district of Ermera (/wiki/Ermera) , black-and-white designs are most common, reflecting the royalty of the traditional leaders, who often lived in the area. The village of Manufahi (/wiki/Manufahi) produces tais with certain common animal themes, specifically the lizard (/wiki/Lizard) and pig (/wiki/Pig) . [1] (#cite_note-turismo-1) References [ edit ] ^ Jump up to: a b c d e f g h Sacchetti, Maria José. "Tais: The Textiles of Timor-Leste" (http://www.turismotimorleste.com/en/about/tais/) Archived (https://web.archive.org/web/20070126085906/http://www.turismotimorleste.com/en/about/tais/) 26 January 2007 at the Wayback Machine (/wiki/Wayback_Machine) . Timor-Leste Government Tourism Office. 2005. Retrieved 7 February 2008. ^ (#cite_ref-2) "Tais Pet Tanimbar" (https://warisanbudaya.kemdikbud.go.id/?newdetail&detailCatat=2644) . Ministry of Education, Culture, Research, and Technology of the Republic Indonesia. 2012. Tais of Tanimbar Islands ^ (#cite_ref-3) Edwards, Owen (2021). Rote-Meto Comparative Dictionary . Canberra: ANU Press. p. 350. ^ (#cite_ref-4) Blust, Robert; Trussel, Stephen. "*tapis (https://www.trussel2.com/ACD/acd-s_t.htm#5509) 1 " (https://www.trussel2.com/ACD/acd-s_t.htm#5509) . The Austronesian Comparative Dictionary . ^ Jump up to: a b c d e f Niner, Sara. "Strong Cloth: East Timor's Tais" (http://www.craftculture.org/world/niner1.htm) . Craft Culture . 2 September 2003. Retrieved 7 February 2008. ^ Jump up to: a b c d e f Delaney, Dawn. "Threads of Hope" (http://www.craftculture.org/world/threads.htm) . Craft Culture . 7 May 2003. Retrieved 7 February 2008. ^ Jump up to: a b c d "Hand-weaving: threads of hope" (http://www.etwa.org.au/about-2023/hand-weaving/#ui-id-1) . East Timor Women Australia (/wiki/East_Timor_Women_Australia) . Retrieved 7 February 2008. ^ (#cite_ref-8) Friends of Suai (http://www.suaimediaspace.org) . ^ (#cite_ref-9) Suai Mediaspace (http://www.suaimediaspace.org/2008/09/08/weaving-meanings-makers-from-east-timor/) . ^ (#cite_ref-10) Pride, p. 17. Bibliography [ edit ] Hamilton, Roy W; Barrkman, Joanna, eds. (2014). Textiles of Timor: Island in The Woven Sea . Fowler Museum textile series, 13. Los Angeles: Fowler Museum at UCLA. ISBN (/wiki/ISBN_(identifier)) 9780984755080 . Pride, Natali. "Weaving the Country Together: Identities and Traditions in East Timor" (http://www.eastimorlawjournal.org/OTHERWRITINGS/introduction_identitiesandtraditionsineasttimor_natali_pride2002.html) . Dissertation, University of New South Wales (/wiki/University_of_New_South_Wales) : 2002. Online at East Timor Law Journal (http://www.eastimorlawjournal.org/) . Retrieved 7 February 2008. 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Overview of fashion in the French Republic Part of a series (/wiki/Category:France) on the Culture of France (/wiki/Culture_of_France) History (/wiki/History_of_France) France in the Middle Ages (/wiki/France_in_the_Middle_Ages) • Early Modern France (/wiki/Early_Modern_France) • Ancien Régime (/wiki/Ancien_R%C3%A9gime) • French Wars of Religion (/wiki/French_Wars_of_Religion) • Louis XIV of France (/wiki/Louis_XIV_of_France) • French Revolution (/wiki/French_Revolution) • Napoleonic wars (/wiki/Napoleonic_wars) • French Third Republic (/wiki/French_Third_Republic) • France in the 20th century (/wiki/France_in_the_20th_century) People (/wiki/French_people) Languages (/wiki/Languages_of_France) French (/wiki/French_language) • Alsatian (/wiki/Alsatian_language) • Breton (/wiki/Breton_language) • Catalan (/wiki/Catalan_language) • Corsican (/wiki/Corsican_language) • Gallo (/wiki/Gallo_language) • Languages of New Caledonia (/wiki/Languages_of_New_Caledonia) • Occitan (/wiki/Occitan_language) • Tahitian (/wiki/Tahitian_language) Mythology (/wiki/Mythology_in_France) and folklore (/wiki/French_folklore) Cuisine (/wiki/French_cuisine) Festivals (/wiki/Public_holidays_in_France) Religion (/wiki/Religion_in_France) Art (/wiki/Art_of_France) French Art (/wiki/French_Art) • School of Paris (/wiki/School_of_Paris) Literature (/wiki/French_literature) Bandes dessinées (/wiki/Bande_dessin%C3%A9e) Music (/wiki/Music_of_France) and performing arts (/wiki/Theatre_of_France) Media (/wiki/Mass_media_in_France) Radio (/wiki/Radio_in_France) Television (/wiki/Television_in_France) Cinema (/wiki/Cinema_of_France) Sport (/wiki/Sport_in_France) Monuments (/wiki/Monument_historique) World Heritage Sites (/wiki/List_of_World_Heritage_Sites_in_France) Symbols (/wiki/National_symbols_of_France) Flag (/wiki/Flag_of_France) Coat of arms (/wiki/Coat_of_arms_of_France) National anthem (/wiki/National_anthem_of_France) France portal (/wiki/Portal:France) v t e French fashion Fashion in France is an important subject in the culture (/wiki/French_culture) and country's social life, as well as being an important part of its economy (/wiki/French_economy) . [1] (#cite_note-1) Fashion design and production became prominent in France (/wiki/France) since 15th century (/wiki/15th_century) . During the 17th century, fashion exploded into a rich industry, for exportation and local consumption. [2] (#cite_note-2) In the 19th century, fashion made a transition into specialisation for modern term haute couture (/wiki/Haute_couture) , originated in the 1860s, bringing good taste to fashion argot. The term prêt-à-porter (/wiki/Pr%C3%AAt-%C3%A0-porter) was born in the 1960s, reacting against the traditional notions of fashion and garment-making process, satisfying the needs of pop culture (/wiki/Pop_culture) and mass media (/wiki/Mass_media) . Paris (/wiki/Paris) acts as the center of the fashion industry and holds the name of global fashion capital (/wiki/Fashion_capital) . The city is home to many prime designers, including Chanel (/wiki/Chanel) , Louis Vuitton (/wiki/Louis_Vuitton) , Givenchy (/wiki/Givenchy) , Balmain (/wiki/Balmain_(fashion_house)) , Christian Louboutin (/wiki/Christian_Louboutin) , Pierre Cardin (/wiki/Pierre_Cardin) , Yves Saint Laurent (/wiki/Yves_Saint_Laurent_(designer)) , Roger Vivier (/wiki/Roger_Vivier) , Thierry Mugler (/wiki/Thierry_Mugler) , Christian Dior (/wiki/Christian_Dior) , Jean Paul Gaultier (/wiki/Jean_Paul_Gaultier) , Hermès (/wiki/Herm%C3%A8s) , Lanvin (/wiki/Lanvin_(clothing)) , Chloé (/wiki/Chlo%C3%A9) , Rochas (/wiki/Rochas) , and Céline (/wiki/C%C3%A9line_(brand)) . [3] (#cite_note-3) [4] (#cite_note-4) With the decentralization of the fashion industry, many cities including Lyon (/wiki/Lyon) , Marseille (/wiki/Marseille) , Bordeaux (/wiki/Bordeaux) , Toulouse (/wiki/Toulouse) , Lille (/wiki/Lille) and Strasbourg (/wiki/Strasbourg) have their own luxury districts and avenues. In recent times, these have become important customers and significant producers. Île-de-France (/wiki/%C3%8Ele-de-France) , Manosque (/wiki/Manosque) , La Gacilly (/wiki/La_Gacilly) (near Rennes), and Vichy (/wiki/Vichy) lead the cosmetic industry (/wiki/Cosmetics) , home of well-known international beauty houses such as L'Oréal (/wiki/L%27Or%C3%A9al) , Lancôme (/wiki/Lanc%C3%B4me) , Guerlain (/wiki/Guerlain) , Clarins (/wiki/Clarins) , Yves Rocher (/wiki/Yves_Rocher) , L'Occitane (/wiki/L%27Occitane) , Vichy (/w/index.php?title=Vichy_cosmetics&action=edit&redlink=1) , etc. The cities of Nice (/wiki/Nice) , Cannes (/wiki/Cannes) and St. Tropez (/wiki/St._Tropez) among others in the French riviera (/wiki/French_riviera) are well known as places of pleasure, annually hosting many media celebrities and personalities, potentates, and billionaires. The clothing of France is famous throughout the world. History [ edit ] 17th century, the Baroque and Classicism [ edit ] Louis XIV (/wiki/Louis_XIV) , the "Sun king" was the absolute (/wiki/Absolute_monarchy) monarch of France (/wiki/Kings_of_France) , made his kingdom the leading European power and was the fashion idol of the Baroque (/wiki/Baroque) age. Fashion prints [ edit ] The association of France with fashion and style ( la mode ) is widely credited as beginning during the reign of Louis XIV (/wiki/Louis_XIV_of_France) [5] (#cite_note-5) when the luxury goods industries in France came increasingly under royal control and the French royal court became, arguably, the arbiter of taste and style in Europe. The rise in prominence of French fashion was linked to the creation of the fashion press in the early 1670s (due in large part to Jean Donneau de Visé (/wiki/Jean_Donneau_de_Vis%C3%A9) ), which transformed the fashion industry by marketing designs to a broad public outside the French court [6] (#cite_note-6) and by popularizing notions such as the fashion "season" and changing styles. [7] (#cite_note-7) The prints were usually 14.25 X 9.5 and depicted a man or woman of quality wearing the latest fashions. They were usually shown head to toe, but with no individuality or defined facial features. Sometimes the figure would be depicted from behind in order to showcase a different side of the clothing. Although the individual in the prints was often crudely sketched, the garment itself was impeccably drawn and detailed. Accessories to the garment also received nuanced attention. [8] (#cite_note-8) Louis XIV, although later hailed as a patron of fashion, did not actually have a large role in its spread and proliferation—which was due to the fashion prints. The fashion prints were ubiquitous, but Louis XIV neither sponsored nor hindered their production and proliferation, and largely stayed out of it unless the prints of himself specifically were treasonous, satirical, or caricatures. [9] (#cite_note-norbergarticle-9) Fashion in royal portraits [ edit ] Throughout his lifetime, Louis XIV commissioned numerous works of art to portray himself, among them over 300 formal portraits. The earliest portrayals of Louis already followed the pictorial conventions of the day in depicting the child king as the majestically royal incarnation of France. This idealisation persisted in subsequent works, which deliberately omitted the effects of the smallpox Louis contracted in 1647. In the 1660s, representations of Louis evolved to depict him as a Roman emperor, the god Apollo (/wiki/Apollo) , or Alexander the Great (/wiki/Alexander_the_Great) , as can be seen in many works of Charles Le Brun (/wiki/Charles_Le_Brun) , such as sculpture, paintings, and the decor of major monuments. The depiction of the King in this manner focused on allegorical or mythological attributes, instead of attempting to produce a true likeness. As Louis aged, so too did the manner in which he was depicted. Nonetheless, there was still a disparity between realistic representation and the demands of royal propaganda. There is no better illustration of this than in Hyacinthe Rigaud (/wiki/Hyacinthe_Rigaud) 's frequently-reproduced Portrait of Louis XIV (/wiki/Portrait_of_Louis_XIV) of 1701 , in which a 63-year-old Louis appears to stand on a set of unnaturally young legs. [10] (#cite_note-10) In 1680, Louis began to be portrayed directly rather than in a mythological setting. This began the "fashion portraits", which were prints that depicted the King wearing the notable fashions of the season. [9] (#cite_note-norbergarticle-9) [11] (#cite_note-11) These prints were also largely unofficial, which meant printers were unaffiliated with the Crown. They largely went unchallenged by authorities, however, as long as they portrayed the King in a positive light. Those who did portray the King satirically or with the use of caricature faced imprisonment. [9] (#cite_note-norbergarticle-9) Rigaud's portrait exemplified the height of royal portraiture in Louis's reign. Although Rigaud crafted a credible likeness of Louis, the portrait was neither meant as an exercise in realism nor to explore Louis's personal character. Certainly, Rigaud was concerned with detail and depicted the King's costume with great precision, down to his shoe buckle. [12] (#cite_note-12) However, Rigaud's intention was to glorify the monarchy. Rigaud's original, now housed in the Louvre (/wiki/Mus%C3%A9e_du_Louvre) , was originally meant as a gift to Louis's grandson, Philip V of Spain (/wiki/Philip_V_of_Spain) . However, Louis was so pleased with the work that he kept the original and commissioned a copy to be sent to his grandson. That became the first of many copies, both in full and half-length formats, to be made by Rigaud, often with the help of his assistants. The portrait also became a model for French royal and imperial portraiture down to the time of Charles X (/wiki/Charles_X_of_France) over a century later. In his work, Rigaud proclaims Louis's exalted royal status through his elegant stance and haughty expression, the royal regalia and throne, rich ceremonial fleur-de-lys robes, as well as the upright column in the background, which, together with the draperies, serves to frame this image of majesty. Trends [ edit ] Louis XIV notably introduced one of the most noticeable feature of the men's costume of the time: immense wigs of curled hair. [13] (#cite_note-oldandsold-13) A commonly held belief is that Louis XIV started to wear wigs due to balding, and to imitate this his courtiers put on false hair. [13] (#cite_note-oldandsold-13) The wearing of wigs lasted for over a century; they went through many changes, but they were never quite so exaggerated as during this period. [13] (#cite_note-oldandsold-13) Despite the rise of la mode during Louis XIV's reign, many of the clothes he wore did not survive or were taken from the monarchy's possession. Much like the Crown Jewels, a French king did not actually own any of his clothes. They belonged to the Garde-robe du roi (King's Wardrobe), which dated back to the 16th century. Due to Louis XIV's changes to the King's Wardrobe, officers had a right to the clothes once the monarch died, as long as they would not be used by the king's successor. [9] (#cite_note-norbergarticle-9) Furthermore, although the Louis XIV's formal clothing would change along with the rest of la mode , his ceremonial clothing did not, and remained with tradition. [9] (#cite_note-norbergarticle-9) The king also used fashion to create a certain effect or theme. During the marriage of his great-grandson Louis, Duke of Burgundy (/wiki/Louis,_Duke_of_Burgundy) to Princess Marie Adélaïde (/wiki/Marie_Ad%C3%A9la%C3%AFde_of_Savoy) , the French entourage dressed in bright colors and fashions to contrast with the more soberly dressed Spanish. This was in order to seem younger and more virile than the Spanish courtiers. [9] (#cite_note-norbergarticle-9) 18th century, the Rococó and early New classicism [ edit ] The extravagant styles of the French Royal court racked up enormous debts to keep up its pace, at the peasants' expense. Such fashion sprees notably ruined Marie Antoinette (/wiki/Marie_Antoinette) 's reputation, and were one of the many factors paving the way for the French Revolution (/wiki/French_Revolution) . [13] (#cite_note-oldandsold-13) Marie Antoinette (/wiki/Marie_Antoinette) the Queen of France, in extravagant 18th century French fashion Long after her death, Marie Antoinette remains a major historical figure linked with conservative (/wiki/Conservative) and the Catholic Church (/wiki/Catholic_Church) positions; and a major cultural icon (/wiki/Cultural_icon) associated with high glamour (/wiki/Glamour_(presentation)) , wealth (/wiki/Wealth) and a certain style of life based on luxury and celebrity (/wiki/Celebrity) appealing today to the social and cultural (/wiki/Cultural) elites; frequently referenced in popular culture (/wiki/Cultural_depictions_of_Marie_Antoinette) , [14] (#cite_note-14) being the subject of several books, films and other forms of media. Most academics and scholars, have deemed her the quintessential representative of class conflict (/wiki/Class_conflict) , western aristocracy (/wiki/Aristocracy) and absolutism (/wiki/Absolutism_(European_history)) government in addition to being frivolous, superficial; and have attributed the start of the French Revolution (/wiki/French_Revolution) . The phrase " Let them eat cake (/wiki/Let_them_eat_cake) " is often attributed to Marie Antoinette, but there is no evidence she ever uttered it, and it is now generally regarded as a "journalistic cliché". [15] (#cite_note-15) It may have been a rumor started by angry French peasants as a form of libel (/wiki/Libel) . This phrase originally appeared in Book VI of the first part (finished in 1767, published in 1782) of Rousseau (/wiki/Jean-Jacques_Rousseau) 's putative autobiographical work, Les Confessions (/wiki/Confessions_(Rousseau)) : " Enfin je me rappelai le pis-aller d'une grande princesse à qui l'on disait que les paysans n'avaient pas de pain, et qui répondit: Qu'ils mangent de la brioche " ("Finally I recalled the stopgap solution of a great princess who was told that the peasants had no bread, and who responded: 'Let them eat brioche (/wiki/Brioche) ' "). Apart from the fact that Rousseau ascribes these words to an unknown princess, vaguely referred to as a "great princess", some think that he invented it altogether as Confessions was largely inaccurate. [16] (#cite_note-16) In 1700, the total monetary value of goods produced in France was documented at a rate of 5%. By the 1780s, gross domestic product rates had increased to 13%. The escalation in production was largely attributable to the growth of the textile industry. The boom in consumerism was fueled by an overwhelming interest in high fashion which surpassed the boundaries of economic rank. French plebeian’s wardrobes became increasingly valuable. Particularly in Paris, women began purchasing dupes of luxury items customarily worn by the elite. These fashion accessories included watches, buttons, and belt buckles. [17] (#cite_note-17) The rise in distinguishable fashion styles worn by lower class French citizens was exhibited by the coordination of patriotic clothing worn by the republican Sans-culottes. The Sans-culottes were the working class of French peasants who fought for liberty during the French Revolution (1789-1799). [18] (#cite_note-18) The Sans-culottes (/wiki/Sans-culottes) (lit. "without knee-breeches") rejected the powdered wigs and the knee-breeches assimilated to the nobility, and instead favored informal styles (full-length trousers, and natural hair), which finally triumphed over the brocades (/wiki/Brocades) , lace (/wiki/Lace) , periwig (/wiki/Periwig) , and powder of the earlier eighteenth century. Fashion during the French Revolution greatly reflected the political climate of France. Sans-culottes were known to wear the red cap of liberty, also called the Phrygian cap. This cap was a controversial symbol of rebellion worn exclusively by lower class revolutionaries. Furthermore, the official French colors of blue, red, and white (chosen to be the recognizable patriotic colors of the revolution in 1789), came together to form the tricolor cockade. The design of the tricolor cockade often appeared in dresses, fans, and pins of French citizens who were in support of the French Revolution. Patriotic women were often clad in a dark uniform of black skirts, jackets, and hats adorned with a tricolor cockade. [19] (#cite_note-19) 19th century, full Neoclassicism and Empire style [ edit ] Under Napoleon Bonaparte (/wiki/Napoleon_Bonaparte) neo-classical styles reached its peak. After the fall of the Jacobins (/wiki/Jacobin_(politics)) and their Sans-culottes supporters, the supporters of the Thermidorian Reaction (/wiki/Thermidorian_Reaction) were known as the Incroyables and Merveilleuses (/wiki/Incroyables_and_Merveilleuses) . They scandalized Paris with their extravagant clothes. The Merveilleuses wore dresses and tunics modeled after the ancient Greeks and Romans, cut of light or even transparent linen and gauze. Sometimes so revealing they were termed "woven air", many gowns displayed cleavage (/wiki/Cleavage_(breasts)) and were too tight to allow pockets. To carry even a handkerchief, the ladies had to use small bags known as reticules. [20] (#cite_note-20) They were fond of wigs, often choosing blonde because the Paris Commune (/wiki/Paris_Commune_(French_Revolution)) had banned blonde wigs, but they also wore them in black, blue, and green. Enormous hats, short curls like those on Roman busts, and Greek-style sandals were the most popular. The sandals were tied above the ankle with crossed ribbons or strings of pearls. Exotic and expensive scents fabricated by perfume houses like Parfums Lubin (/wiki/Parfums_Lubin) were worn as both for style and as indicators of social station. Thérésa Tallien (/wiki/Th%C3%A9r%C3%A9sa_Tallien) , known as "Our Lady of Thermidor", wore expensive rings on the toes of her bare feet and gold circlets on her legs. Thérésa Tallien (/wiki/Th%C3%A9r%C3%A9sa_Tallien) , a leading Merveilleuse The Incroyables wore eccentric outfits: large earrings, green jackets, wide trousers, huge neckties, thick glasses, and hats topped by "dog ears", their hair falling on their ears. Their musk (/wiki/Musk) -based fragrances earned them too the derogatory nickname muscadins among the lower classes, already applied to a wide group of anti-Jacobins. They wore bicorne (/wiki/Bicorne) hats and carried bludgeons, which they referred to as their "executive power." Hair was often shoulder-length, sometimes pulled up in the back with a comb to imitate the hairstyles of the condemned. Some sported large monocles, and they frequently affected a lisp and sometimes a stooped hunchbacked posture. In addition to Madame Tallien, famous Merveilleuses included Anne Françoise Elizabeth Lange (/wiki/Anne_Fran%C3%A7oise_Elizabeth_Lange) , Jeanne Françoise Julie Adélaïde Récamier (/wiki/Jeanne_Fran%C3%A7oise_Julie_Ad%C3%A9la%C3%AFde_R%C3%A9camier) , and two very popular Créoles (/wiki/Creole_peoples) : Fortunée Hamelin and Hortense de Beauharnais (/wiki/Hortense_de_Beauharnais) . Hortense, a daughter of the Empress Josephine (/wiki/Empress_Josephine) , married Louis Bonaparte (/wiki/Louis_Bonaparte) and became the mother of Napoleon III (/wiki/Napoleon_III) . Fortunée was not born rich, but she became famous for her salons (/wiki/Salon_(gathering)) and her string of prominent lovers. Parisian society compared Germaine de Staël (/wiki/Germaine_de_Sta%C3%ABl) and Mme Raguet to Minerva (/wiki/Minerva) and Juno (/wiki/Juno_(mythology)) and named their garments for Roman deities: gowns were styled Flora (/wiki/Flora_(mythology)) or Diana (/wiki/Diana_(mythology)) , and tunics were styled à la Ceres (/wiki/Ceres_(Roman_mythology)) or Minerva. [21] (#cite_note-21) The leading Incroyable, Paul François Jean Nicolas, vicomte de Barras (/wiki/Paul_Fran%C3%A7ois_Jean_Nicolas,_vicomte_de_Barras) , was one of five Directors who ran the Republic of France and gave the period its name. He hosted luxurious feasts attended by royalists (/wiki/Monarchism) , repentant Jacobins (/wiki/Jacobin_(politics)) , ladies, and courtesans. Since divorce was now legal, sexuality was looser than in the past. However, de Barras' reputation for immorality may have been a factor in his later overthrow, a coup (/wiki/Coup) that brought the French Consulate (/wiki/French_Consulate) to power and paved the way for Napoleon Bonaparte (/wiki/Napoleon_Bonaparte) . Final 19th and early 20th century, Belle époque and Années folles [ edit ] Coco Chanel (/wiki/Coco_Chanel) , French designer revolutionised fashion world, in the post-World War I era. France renewed its dominance of the high fashion ( French (/wiki/French_language) : couture or haute couture (/wiki/Haute_couture) ) industry in the years 1860–1960 through the establishing of the great couturier (/wiki/Couturier) houses, the fashion press ( Vogue (/wiki/Vogue_(magazine)) was founded in 1892 in US, and 1920 in France) and fashion shows (/wiki/Fashion_shows) . French fashion, particularly haute couture, became a fixture of France’s post-war prestige-based commercial diplomacy, combining nation branding and export branding. [22] (#cite_note-22) The first modern Parisian couturier house is generally considered the work of the Englishman Charles Frederick Worth (/wiki/Charles_Frederick_Worth) , who dominated the industry from 1858–1895. [23] (#cite_note-23) In the late nineteenth and early twentieth century, the industry expanded through such Parisian fashion houses as the house of Jacques Doucet (/wiki/Jacques_Doucet_(fashion_designer)) (founded in 1871), Rouff (founded 1884), Jeanne Paquin (/wiki/Jeanne_Paquin) (founded in 1891), the Callot Soeurs (/wiki/Callot_Soeurs) (founded 1895 and operated by four sisters), Paul Poiret (/wiki/Paul_Poiret) (founded in 1903), Louise Chéruit (/wiki/Louise_Ch%C3%A9ruit) (founded 1906), Madeleine Vionnet (/wiki/Madeleine_Vionnet) (founded in 1912), House of Patou (/wiki/House_of_Patou) by Jean Patou (founded in 1919), Elsa Schiaparelli (/wiki/Elsa_Schiaparelli) (founded in 1927) or Balenciaga (/wiki/Balenciaga) (founded by the Spaniard Cristóbal Balenciaga (/wiki/Crist%C3%B3bal_Balenciaga) in 1937). [ citation needed ] Chanel (/wiki/Chanel) founded by Mademoiselle Coco Chanel (/wiki/Coco_Chanel) , it first came to prominence in 1925, its philosophy was to emphasize understated elegance through her clothing. Her popularity thrived in the 1920s, because of innovative designs. Chanel's own look itself was as different and new as her creations. Instead of the usual pale-skinned, long-haired and full-bodied women preferred at the time, Chanel had a boyish figure, short cropped hair, and tanned skin. She had a distinct type of beauty that the world came to embrace. The horse culture and penchant for hunting so passionately pursued by the elites, especially the British, fired Chanel's imagination. Her own enthusiastic indulgence in the sporting life led to clothing designs informed by those activities. From her excursions on water with the yachting world, she appropriated the clothing associated with nautical pursuits: the horizontal striped shirt, bell-bottom pants, crewneck sweaters, and espadrille shoes—all traditionally worn by sailors and fishermen. [24] (#cite_note-FOOTNOTEVaughan201147,_79-24) World War II, Trente Glorieuses and New Look [ edit ] Many fashion houses closed during the occupation of Paris in World War II (/wiki/World_War_II) , including the Maison Vionnet and the Maison Chanel . In contrast to the stylish, liberated Parisienne , the Vichy regime (/wiki/Vichy_France) promoted the model of the wife and mother, the robust, athletic young woman, a figure who was much more in line with the new political criteria. Germany, meanwhile, was taking possession of over half of what France produced, including high fashion, and was considering relocating French haute couture to the cities of Berlin and Vienna (/wiki/Vienna) , neither of which had any significant tradition of fashion. The archives of the Chambre Syndicale de la Couture (/wiki/F%C3%A9d%C3%A9ration_fran%C3%A7aise_de_la_couture) were seized, mostly for their client lists as Jews (/wiki/Jew) were excluded from the fashion industry at this time. Evening dress (/wiki/Evening_gown) and evening glove (/wiki/Evening_glove) , House of Dior, 1954. Indianapolis Museum of Art (/wiki/Indianapolis_Museum_of_Art) . During this era, the number of employed models was limited to seventy-five and designers often substituted materials in order to comply with wartime shortages. From 1940 onward, no more than thirteen feet (four meters) of cloth was permitted to be used for a coat and a little over three feet (one meter) for a blouse. No belt could be over one and a half inches (four centimeters) wide. As a result of the frugal wartime standards, the practical zazou (/wiki/Zazou) suit became popular among young French men. In spite of the fact that so many fashion houses closed down or moved away during the war, several new houses remained open, including Jacques Fath (/wiki/Jacques_Fath) , Maggy Rouff (/wiki/Maggy_Rouff) , Marcel Rochas (/wiki/Marcel_Rochas) , Jeanne Lafaurie, Nina Ricci (/wiki/Nina_Ricci_(designer)) , and Madeleine Vramant. During the Occupation, the only true way for a woman to flaunt her extravagance and add color to a drab outfit was to wear a hat. In this period, hats were often made of scraps of material that would have otherwise been thrown away, sometimes incorporating butter muslin, bits of paper, and wood shavings. Among the most innovative milliners of the time were Pauline Adam, Simone Naudet, Rose Valois (/wiki/Rose_Valois) , and Le Monnier. Post-war fashion returned to prominence through Christian Dior (/wiki/Christian_Dior) 's famous " New Look (/wiki/Christian_Dior_S.A.#"New_Look") " in 1947: the collection contained dresses with tiny waists, majestic busts, and full skirts swelling out beneath small bodices, in a manner very similar to the style of the Belle Époque (/wiki/Belle_%C3%89poque) . The extravagant use of fabric and the feminine elegance of the designs appealed greatly to a post-war clientele. Other important houses of the period included Pierre Balmain (/wiki/Pierre_Balmain) and Hubert de Givenchy (/wiki/Hubert_de_Givenchy) (opened in 1952). The fashion magazine Elle (/wiki/Elle_(magazine)) was founded in 1945. In 1952, Coco Chanel (/wiki/Coco_Chanel) herself returned to Paris. [25] (#cite_note-Caroline_Weber_2003_pp._193-95-25) From '60s to today [ edit ] Where else but in France would people describe themselves to potential partners in terms of their clothes? — The New York Times on users of online dating services (/wiki/Online_dating_service) , 1995 [26] (#cite_note-brubach19950312-26) Post-war fashion returned to prominence through Christian Dior (/wiki/Christian_Dior) 's famous " New Look (/wiki/Christian_Dior_S.A.#"New_Look") " in 1947: the collection contained dresses with tiny waists, majestic busts, and full skirts swelling out beneath small bodices, in a manner very similar to the style of the Belle Époque (/wiki/Belle_%C3%89poque) . The extravagant use of fabric and the feminine elegance of the designs appealed greatly to a post-war clientele. Other important houses of the period included Pierre Balmain (/wiki/Pierre_Balmain) and Hubert de Givenchy (/wiki/Hubert_de_Givenchy) (opened in 1952). The fashion magazine Elle (/wiki/Elle_(magazine)) was founded in 1945. In 1952, Coco Chanel (/wiki/Coco_Chanel) herself returned to Paris. [25] (#cite_note-Caroline_Weber_2003_pp._193-95-25) Karl Lagerfeld (/wiki/Karl_Lagerfeld) was one of the most prestigious and powerful designers in the modern fashion world, former creative head of Chanel (/wiki/Chanel) fashion house. In the 1960s, "high fashion" came under criticism from France's youth culture (including the yé-yés (/wiki/Y%C3%A9-y%C3%A9) ) who were turning increasingly to London and to casual styles. [27] (#cite_note-27) In 1966, the designer Yves Saint Laurent (/wiki/Yves_Saint_Laurent_(designer)) broke with established high fashion norms by launching a prêt-à-porter (/wiki/Pr%C3%AAt-%C3%A0-porter) ("ready to wear") line and expanding French fashion into mass manufacturing and marketing (member houses of the Chambre Syndicale were forbidden to use even sewing machines). [28] (#cite_note-28) In 1985, Caroline Rennolds Milbank wrote, "The most consistently celebrated and influential designer of the past twenty-five years, Yves Saint Laurent can be credited with both spurring the couture's rise from its sixties ashes and with finally rendering ready-to-wear (/wiki/Ready-to-wear) reputable." [29] (#cite_note-Goodreads-29) He is also credited with having introduced the tuxedo (/wiki/Black_tie) suit for women and was known for his use of non-European cultural references, and non-white models. [30] (#cite_note-Yslbptr-30) Further innovations were carried out by Paco Rabanne (/wiki/Paco_Rabanne) and Pierre Cardin (/wiki/Pierre_Cardin) . In post-1968 France, youth culture would continue to gravitate away from the "sociopolitically suspect" luxury clothing industry (/wiki/Clothing_industry) , preferring instead a more "hippy" look (termed baba cool in French). [31] (#cite_note-31) With a greater focus on marketing and manufacturing, new trends were established by Sonia Rykiel (/wiki/Sonia_Rykiel) , Thierry Mugler (/wiki/Thierry_Mugler) , Claude Montana (/wiki/Claude_Montana) , Jean-Paul Gaultier (/wiki/Jean-Paul_Gaultier) and Christian Lacroix (/wiki/Christian_Lacroix) in the 1970s and '80s. The 1990s saw a conglomeration of many French couture houses under luxury giants and multinationals such as LVMH (/wiki/LVMH) . Fashion is so important to the French that, as The New York Times (/wiki/The_New_York_Times) in 1995 quoted in an article on users of online dating services (/wiki/Online_dating_service) on Minitel (/wiki/Minitel) , "Where else but in France would people describe themselves to potential partners in terms of their clothes?" [26] (#cite_note-brubach19950312-26) Since the 1960s, France's fashion industry has come under increasing competition from London, New York, Milan and Tokyo. Nevertheless, many foreign designers still seek to make their careers in France: Karl Lagerfeld (/wiki/Karl_Lagerfeld) (German) at Chanel, John Galliano (/wiki/John_Galliano) (British) and later, Raf Simons (/wiki/Raf_Simons) (Belgian) at Dior, Paulo Melim Andersson (Swedish) at Chloe, Stefano Pilati (/wiki/Stefano_Pilati) (Italian) at Yves Saint Laurent, Marc Jacobs (/wiki/Marc_Jacobs) (American) at Louis Vuitton, and Kenzo Takada (/wiki/Kenzo_Takada) (Japanese) and Alexander McQueen (/wiki/Alexander_McQueen) (English) at Givenchy (until 2001). Cities and towns [ edit ] Paris (/wiki/Paris) is a symbol of France and fashion, known for its cultural environment. France is known as a country of luxury, fashion and beauty, with Paris as one of the world's fashion capitals. It also has many cities and towns with an important history and industry of the entry, with various sized events and shows as fashion weeks and fests. Paris [ edit ] Paris (/wiki/Paris) is regarded as one the world's fashion capitals, with several premium fashion boutiques spread throughout the city. Most of the major French fashion brands, such as Chanel (/wiki/Chanel) , Louis Vuitton (/wiki/Louis_Vuitton) , Dior (/wiki/Dior) , and Lacroix (/wiki/Christian_Lacroix) , are headquartered there presently. Numerous international fashion labels also operate shops in Paris, such as Valentino (/wiki/Valentino_Garavani) , Gucci (/wiki/Gucci) , Loewe (/wiki/Loewe,_S.A.) , Escada (/wiki/Escada) , Bottega Veneta (/wiki/Bottega_Veneta) , and Burberry (/wiki/Burberry) , as well as an Abercrombie & Fitch (/wiki/Abercrombie_%26_Fitch) flagship store which has become a main consumer attraction. Paris hosts a fashion week (/wiki/Fashion_week) twice a year, similar to other international centers such as Milan (/wiki/Milan) , London, Tokyo, New York, Los Angeles, Amsterdam and Rome. The Avenue des Champs-Élysées (/wiki/Champs-%C3%89lys%C3%A9es) is the avenue of luxury and beauty of France and is the location of many headquarters of upscale fashion, jewelry and beauty houses. It is often compared with the 5th Avenue (/wiki/Fifth_Avenue) of New York City (/wiki/New_York_City) and the Avenue Montaigne (/wiki/Avenue_Montaigne) , an adjacent avenue that is also known for its prestigious fashion headquarters since the 1980s. The fashion houses have been traditionally situated since the 17th century in the quarter around the Rue du Faubourg Saint-Honoré (/wiki/Rue_du_Faubourg_Saint-Honor%C3%A9) . Other areas, such as Le Marais (/wiki/Le_Marais) , a traditional Jewish quarter, have also included the clothing industry. The city's numerous fashion districts consolidate it as a fashion capital. Marseille [ edit ] Marseille (/wiki/Marseille) is a city of contrasts, which represents the antique and contemporary cities of France. Marseille (/wiki/Marseille) , the oldest and second largest city of France is well known for the principal port (/wiki/Marseille-Fos_Port) of the country and of the second Mediterranean (/wiki/Mediterranean) , and fourth of all Europe (/wiki/Europe) . A view of Canebière (/wiki/Canebi%C3%A8re) in Marseille The city is affectionately called "The Old Lady of the Mediterranean" or "The City of Contrasts". [32] (#cite_note-32) The city has enjoyed its position on the continent being a fluvial port with ships full of fashion products. The avenue Canebière (/wiki/Canebi%C3%A8re) is called the " Champs Elysées (/wiki/Champs_Elys%C3%A9es) of Marseille". Rue Paradis (/wiki/Marseille) and the Rue Grignan (/wiki/Marseille) are known for being the avenues of luxury in the city, holding high fashion boutiques such as Louis Vuitton (/wiki/Louis_Vuitton) , Hermès (/wiki/Herm%C3%A8s) , YSL (/wiki/Yves_Saint_Laurent_(brand)) , Chopard (/wiki/Chopard) , Kenzo (/wiki/Kenzo) , Tara Jarmon (/wiki/Tara_Jarmon) , Gérard Darel (https://fr.wikipedia.org/wiki/G%C3%A9rard_Darel) and many others. Local fashion and art brand Kulte (/wiki/Kulte) belongs to the French label Kaporal (/wiki/Kaporal) . The Rue de la Tour (/wiki/Marseille) is called La Rue de la Mode ("The Fashion Street"), where the newest Marsellaises (/wiki/Marseille) fashion designers and artisans are supported by the city government, for creating and growing the fashion industry in the city. Some of the famous fashion houses here are Diable Noir and Casa Blanca. In the Centre and Vieux Port (downtown and old port) are other of the city shopping districts, in these areas are a lot of fashion houses for both nationals and internationals. Lyon [ edit ] Lyon (/wiki/Lyon) is a city in constant modernisation, symbol of the country. A view of upscale Presqu'île (/wiki/Presqu%27%C3%AEle) neighborhood in Lyon Lyon (/wiki/Lyon) , the third largest city of France, is a growing fashion industry center. It has been the world's silk (/wiki/Silk) capital since the 17th century, with an important textile industry and a strong fashion culture. It is the second biggest luxury goods consumer of the country, with major streets and districts holding houses of high fashion. [33] (#cite_note-33) The Presqu'île (/wiki/Presqu%27%C3%AEle) is the upscale district of the city, containing luxurious malls, streets and avenue. The famous Rue de la République (/wiki/Rue_de_la_R%C3%A9publique) is compared with Avenue des Champs-Elysées (/wiki/Avenue_des_Champs-Elys%C3%A9es) of Paris. The Rue Édouard-Herriot (/wiki/Rue_%C3%89douard-Herriot) , the Avenue des Cordeliers Jacobines, the Place Bellecour (/wiki/Place_Bellecour) among others, with elegant boutiques of Armani (/wiki/Armani) , Dior (/wiki/Dior) , Prada (/wiki/Prada) , Dolce & Gabbana (/wiki/Dolce_%26_Gabbana) , Calvin Klein (/wiki/Calvin_Klein) , MaxMara (/wiki/MaxMara) , Armand Ventilo (https://fr.wikipedia.org/wiki/Armand_Ventilo) , Sonia Rykiel (/wiki/Sonia_Rykiel) , and Cartier (/wiki/Cartier_(jeweler)) . [34] (#cite_note-es.lyon-france.com-34) La Croix-Rousse (/wiki/La_Croix-Rousse) is a fashion district heavily marked by the silk industry (/wiki/Silk) , and known for receiving government support for the newcomer fashion designers. The city is the home of the headquarters of international fashion houses such as Korloff (/wiki/Korloff_Noir) , Millesia (/wiki/Nina_Ricci_(brand)) and the jeweler Augis. Other famous Lyonnaise (/wiki/Lyon) fashion houses in France include Nicholas Fafiotte, Nathalie Chaize and Garbis Devar. [34] (#cite_note-es.lyon-france.com-34) Other cities and towns [ edit ] Passage Pommeraye (/wiki/Passage_Pommeraye) , an ultra-upscale shopping hall in Nantes (/wiki/Nantes) , UNESCO (/wiki/UNESCO) 's world heritage Outside of the biggest cities, there are many "fashionable" cities and towns in France, there are fashion districts, avenues, streets, shopping malls and many places specialized for all the needs of customer. Cannes (/wiki/Cannes) , Nice (/wiki/Nice) , St. Tropez (/wiki/St._Tropez) and Monte Carlo (/wiki/Monte_Carlo) , year by year host thousands of socialites, artists, potentates and personalities who come up for events including the Cannes Film Festival (/wiki/Cannes_Film_Festival) and the NRJ Music Awards (/wiki/NRJ_Music_Awards) . For that reason, the fashion houses have taken advantage of establishing boutiques in ostentatious districts of the French riviera, Bordeaux (/wiki/Bordeaux) is classified "City of Art and History". The city is home to 362 monuments historiques (/wiki/Monuments_historiques) (only Paris has more in France) with some buildings dating back to Roman times. Bordeaux has been inscribed on UNESCO World Heritage List (/wiki/World_Heritage_Site) as "an outstanding urban and architectural ensemble" and is the world's top prime wine tourism place, focus its luxury district around the Cours de l'intendance . Toulouse (/wiki/Toulouse) with pink and stylish architecture, Rennes (/wiki/Rennes) with antique and medieval beauty (around the "rue de la Monnaie"), Nantes (/wiki/Nantes) with its passage Pommeraye, Strasbourg (/wiki/Strasbourg) offering French-German architecture and Lille (/wiki/Lille) 's downtown in north France holds several luxury houses. Fashion shows [ edit ] Main article: Paris Fashion Week (/wiki/Paris_Fashion_Week) The Paris Fashion Week takes place twice a year after the Milan Fashion Week (/wiki/Milan_Fashion_Week) . It is the last and usually the most anticipated city of the fashion month. Dates are determined by the French Fashion Federation. Currently, the Fashion Week is held in the Carrousel du Louvre (/wiki/Carrousel_du_Louvre) . The Paris Fashion Week Africa Fashion Week Paris (/w/index.php?title=Africa_Fashion_Week_Paris&action=edit&redlink=1) Bordeaux Fashion Week (/w/index.php?title=Bordeaux_Fashion_Week&action=edit&redlink=1) Elite Model Look (/wiki/Elite_Model_Look) Cannes-Nice Fashion Week (/w/index.php?title=Cannes-Nice_Fashion_Week&action=edit&redlink=1) Bal des débutantes (/wiki/Bal_des_d%C3%A9butantes) Lille Fashion Week (/w/index.php?title=Lille_Fashion_Week&action=edit&redlink=1) Lyon Fashion Week (/w/index.php?title=Lyon_Fashion_Week&action=edit&redlink=1) (FashionCity Show) Marseille Fashion Week (/w/index.php?title=Marseille_Fashion_Week&action=edit&redlink=1) Nantes Fashion Week (/w/index.php?title=Nantes_Fashion_Week&action=edit&redlink=1) Rennes Fashion Week (/w/index.php?title=Rennes_Fashion_Week&action=edit&redlink=1) Toulouse Fashion Week (/w/index.php?title=Toulouse_Fashion_Week&action=edit&redlink=1) Strasbourg Fashion Week (/w/index.php?title=Strasbourg_Fashion_Week&action=edit&redlink=1) (EM Fashion Week) St. Tropez Fashion Week (/w/index.php?title=St._Tropez_Fashion_Week&action=edit&redlink=1) Spring 2004 Dior couture collection (/wiki/Spring_2004_Dior_couture_collection) Monaco [ edit ] Montecarlo Fashion Week (/w/index.php?title=Montecarlo_Fashion_Week&action=edit&redlink=1) (Fashion Fair Week) Notes [ edit ] ^ (#cite_ref-1) "Fashion" (https://www.gouvernement.fr/en/fashion-and-luxury-goods-0) . Gouvernement.fr . Retrieved 2018-10-23 . ^ (#cite_ref-2) "18th-century Paris: The capital of luxury" (https://www.theguardian.com/artanddesign/2011/jul/29/paris-life-luxury-getty-museum) . TheGuardian.com (/wiki/TheGuardian.com) . 29 July 2011. ^ (#cite_ref-3) Why is Paris the Capital of Fashion (http://womens-fashion.lovetoknow.com/Why_is_Paris_the_Capital_of_Fashion) - LoveToKnow - Women's Fashion ^ (#cite_ref-4) French fashion facts (https://www.parisdigest.com/paris/french-fashion-paris.htm) - Paris Digest ^ (#cite_ref-5) Kelly, 181. DeJean, chapters 2–4. ^ (#cite_ref-6) DeJean, pp. 35–6, 46–7, 95. ^ (#cite_ref-7) DeJean, 48. ^ (#cite_ref-8) Norberg & Rosenbaum p. XV; Introduction. ^ a b c d e f Norberg & Rosenbaum, and various authors. (Norberg, Louis XIV: King of Fashion? , p. 135-65) ^ (#cite_ref-10) Perez, Stanis (July–September 2003). "Les rides d'Apollon: l'évolution des portraits de Louis XIV" (https://doi.org/10.3917%2Frhmc.503.0062) [Apollo's Wrinkles: The Evolution of Portraits of Louis XIV]. Revue d'histoire moderne et contemporaine . 50 (3): 62–95. doi (/wiki/Doi_(identifier)) : 10.3917/rhmc.503.0062 (https://doi.org/10.3917%2Frhmc.503.0062) . ISSN (/wiki/ISSN_(identifier)) 0048-8003 (https://www.worldcat.org/issn/0048-8003) . JSTOR (/wiki/JSTOR_(identifier)) 20530984 (https://www.jstor.org/stable/20530984) . ^ (#cite_ref-11) In Norberg's article, she references the idea that Louis XIV's portrayal in fashion portraits mirrors the use of notable fashion models of today in order to sell clothing and trends. ^ (#cite_ref-12) See also Schmitter, Amy M. (2002). "Representation and the Body of Power in French Academic Painting". Journal of the History of Ideas . 63 (3): 399–424. doi (/wiki/Doi_(identifier)) : 10.1353/jhi.2002.0027 (https://doi.org/10.1353%2Fjhi.2002.0027) . ISSN (/wiki/ISSN_(identifier)) 0022-5037 (https://www.worldcat.org/issn/0022-5037) . JSTOR (/wiki/JSTOR_(identifier)) 3654315 (https://www.jstor.org/stable/3654315) . S2CID (/wiki/S2CID_(identifier)) 170904125 (https://api.semanticscholar.org/CorpusID:170904125) . ^ a b c d "Dress During Louis XIV, Louis XV, Louis XVI 1643-1789" (http://www.oldandsold.com/articles08/costume-10.shtml) . www.oldandsold.com . ^ (#cite_ref-14) "Marie Antoinette Biography" (https://web.archive.org/web/20110926232633/http://www.chevroncars.com/learn/famous-people/marie-antoinette) . Chevroncars.com. Archived from the original (http://www.chevroncars.com/learn/famous-people/marie-antoinette) on 26 September 2011 . Retrieved 17 July 2011 . ^ (#cite_ref-15) Fraser 2001 (#CITEREFFraser2001) , pp. xviii, 160; Lever 2006 (#CITEREFLever2006) , pp. 63–5; Lanser 2003 (#CITEREFLanser2003) , pp. 273–290 ^ (#cite_ref-16) Johnson 1990 (#CITEREFJohnson1990) , p. 17 ^ (#cite_ref-17) Shovlin, John (2007). The political economy of virtue: Luxury, patriotism, and the origins of the French Revolution . pp. 15–16. ^ (#cite_ref-18) Steele, Valerie (2017). Paris fashion: A cultural history . pp. 45–46. ^ (#cite_ref-19) Steele, Valerie (2017). Paris fashion: A cultural history . Bloomsbury. pp. 47–48. ^ (#cite_ref-20) "Reticule" (https://web.archive.org/web/20171011041730/http://www.austentation.com/history/reticule.html) . Austentation: Regency Accessories . Archived from the original (http://www.austentation.com/history/reticule.html) on 11 October 2017 . Retrieved 4 November 2012 . ^ (#cite_ref-21) Alfred Richard Allinson, The Days of the Directoire , J. Lane, (1910), p. 190 ^ (#cite_ref-22) Vincent, Dubé-Senécal (2022). "Fashion's diplomatic role: an instrument of French prestige-based commercial diplomacy, 1960s–1970s" (https://doi.org/10.1177/00471178221123506) . International Relations – via Sage. ^ (#cite_ref-23) Kelly, 101. ^ (#cite_ref-FOOTNOTEVaughan201147,_79_24-0) Vaughan 2011 (#CITEREFVaughan2011) , pp. 47, 79. ^ a b Caroline Weber (/wiki/Caroline_Weber_(author)) , "Fashion", in Dauncey (2003), pp. 193–95. ^ a b Brubach, Holly (1995-03-12). "STYEL; Fashion Foreplay" (https://www.nytimes.com/1995/03/12/magazine/styel-fashion-foreplay.html) . The New York Times Magazine . p. 6006081 . Retrieved 2018-11-27 . ^ (#cite_ref-27) Weber, p. 196. ^ (#cite_ref-28) Weber, p. 195. ^ (#cite_ref-Goodreads_29-0) "Yves Saint-Laurent" (http://www.goodreads.com/author/show/132725.Yves_Saint_Laurent) . Goodreads . Retrieved 20 May 2012 . ^ (#cite_ref-Yslbptr_30-0) Yves Saint Laurent's body put to rest (http://www.fashiontelevision.com/infashion/industrynews/industrynews_2116.aspx) Archived (https://web.archive.org/web/20141029221215/http://www.fashiontelevision.com/infashion/industrynews/industrynews_2116.aspx) 2014-10-29 at the Wayback Machine (/wiki/Wayback_Machine) Fashion Television . ^ (#cite_ref-31) Weber, p. 198. ^ (#cite_ref-32) "Marsella, aquella vieja dama del Mediterráneo" (http://www.gusplanet.net/2008/07/marsella-aquella-vieja-dama-del.html) . www.gusplanet.net . ^ (#cite_ref-33) "Shopping & Fashion - Lyon Tourist Office and Convention Bureau" (http://www.en.lyon-france.com/Things-to-do/Shopping-Fashion) . www.en.lyon-france.com . ^ a b "Compras y moda, Actividades y ocio - Oficina de Turismo y Congresos de Lyon" (https://web.archive.org/web/20130703160411/http://www.es.lyon-france.com/Actividades-y-ocio/Compras-y-moda) . Archived from the original (http://www.es.lyon-france.com/Actividades-y-ocio/Compras-y-moda) on 2013-07-03 . Retrieved 2013-07-06 . References [ edit ] Dauncey, Hugh, ed., French Popular Culture: An Introduction , New York: Oxford University Press (Arnold Publishers), 2003. DeJean, Joan, The Essence of Style: How The French Invented High Fashion, Fine Food, Chic Cafés, Style, Sophistication, and Glamour , New York: Free Press, 2005, ISBN (/wiki/ISBN_(identifier)) 978-0-7432-6413-6 (/wiki/Special:BookSources/978-0-7432-6413-6) Fraser, Antonia (/wiki/Antonia_Fraser) (2001). Marie Antoinette (1st ed.). New York: N.A. Talese/Doubleday. ISBN (/wiki/ISBN_(identifier)) 978-0-385-48948-5 . Johnson, Paul (/wiki/Paul_Johnson_(writer)) (1990). Intellectuals . New York: Harper & Row. ISBN (/wiki/ISBN_(identifier)) 978-0-06-091657-2 . Kelly, Michael, French Culture and Society: The Essentials , New York: Oxford University Press (Arnold Publishers), 2001, (a reference guide) Lanser, Susan S. (2003). "Eating Cake: The (Ab)uses of Marie-Antoinette". In Goodman, Dena (ed.). Marie-Antoinette: Writings on the Body of a Queen . Psychology Press. ISBN (/wiki/ISBN_(identifier)) 978-0-415-93395-7 . Lever, Évelyne (/wiki/%C3%89velyne_Lever) (2006). Marie Antoinette: The Last Queen of France . London: Portrait. ISBN (/wiki/ISBN_(identifier)) 978-0-7499-5084-2 . Nadeau, Jean-Benoît and Julie Barlow, Sixty Million Frenchmen Can't Be Wrong: Why We Love France But Not The French , Sourcebooks Trade, 2003, ISBN (/wiki/ISBN_(identifier)) 1-4022-0045-5 (/wiki/Special:BookSources/1-4022-0045-5) Norberg, Kathryn & Rosenbaum, Sandra (editors), and various authors. Fashion Prints in the Age of Louis XIV (Texas Tech University Press, 2014) Vaughan, Hal (2011). Sleeping with the enemy : Coco Chanel's secret war . New York: Alfred A. Knopf. ISBN (/wiki/ISBN_(identifier)) 978-0-307-59263-7 . Dubé-Senécal, V. (2022). Fashion’s diplomatic role: An instrument of french prestige-based commercial diplomacy, 1960s–1970s. International Relations. Further reading [ edit ] Bourhis, Katell le: The Age of Napoleon: Costume from Revolution to Empire, 1789-1815 (http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/12622/rec/18) , Metropolitan Museum of Art, 1989. ISBN (/wiki/ISBN_(identifier)) 0870995707 (/wiki/Special:BookSources/0870995707) Martin, Richard (/wiki/Richard_Martin_(curator)) ; Koda, Harold (1996). Christian Dior (https://archive.org/details/christiandior0000mart) . New York: The Metropolitan Museum of Art. ISBN (/wiki/ISBN_(identifier)) 9780870998225 . External links [ edit ] Wikimedia Commons has media related to Fashion of France (https://commons.wikimedia.org/wiki/Category:_Fashion_of_France) . La Fédération française de la couture, du prêt-à-porter des couturiers et des créateurs de mode (http://www.modeaparis.com/va/index.html) Archived (https://web.archive.org/web/20071204060226/http://www.modeaparis.com/va/index.html) 2007-12-04 at the Wayback Machine (/wiki/Wayback_Machine) - main page La Fédération française de la couture (https://web.archive.org/web/20100218062426/http://www.modeaparis.com/va/couturiers/index.html) - member fashion houses "Interactive timeline of couture houses and couturier biographies" (http://www.vam.ac.uk/vastatic/microsites/1486_couture/explore.php) . Victoria and Albert Museum (/wiki/Victoria_and_Albert_Museum) . 29 July 2015. 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Types of lace Appliqué lace refers to various types of lace (/wiki/Lace) where the decorative motifs (/wiki/Motif_(textile_arts)) are sewn as appliqués (/wiki/Appliqu%C3%A9) [1] (#cite_note-NYT_2018_e777-1) to an existing openwork (/wiki/Openwork) fabric (/wiki/Fabric) , such as tulle (/wiki/Tulle_(netting)) , netting (/wiki/Netting) , filet (/w/index.php?title=Filet_(lace)&action=edit&redlink=1) or bobbinet (/wiki/Bobbinet) . Motifs may also be applied to drawn thread work (/wiki/Drawn_thread_work) and cut-work (/wiki/Cut-work) . The motifs can be either hand-made (via needle lace (/wiki/Needle_lace) , bobbin lace (/wiki/Bobbin_lace) or as embroidered (/wiki/Embroidery) fabric) or machine (/wiki/Machine) -made. References [ edit ] ^ (#cite_ref-NYT_2018_e777_1-0) Jordan, Sandra (December 5, 2018). "In Ireland, Making Lace for the Love of It" (https://www.nytimes.com/2018/12/05/fashion/lace-carrickmacross-ireland.html) . The New York Times . Retrieved October 18, 2023 . v t e Lace (/wiki/Lace) types Needle lace (/wiki/Needle_lace) Filet lace (/wiki/Filet_lace) Punto in Aria (/wiki/Punto_in_Aria) Point de Venise (/wiki/Point_de_Venise) Point de France (/wiki/Point_de_France) Alençon (/wiki/Alen%C3%A7on_lace) Aemilia Ars (/w/index.php?title=Aemilia_Ars&action=edit&redlink=1) Argentan (/wiki/Argentan_lace) Argentella (/wiki/Argentella) Armenian (/wiki/Armenian_needlelace) Burano (https://it.wikipedia.org/wiki/Merletto%20di%20Burano) Halas lace (/wiki/Halas_lace) Hedebo embroidery (/wiki/Hedebo_embroidery) Hollie Point (/wiki/Hollie_Point) Nallıhan (/wiki/Nall%C4%B1han_silk_needlelace) Point de Gaze (/wiki/Point_de_Gaze) Kenmare Lace (/wiki/Kenmare_lace) Ñandutí (/wiki/%C3%91andut%C3%AD) Oya (/wiki/Oya_(lace)) Pag (/wiki/Pag_lace) Puncetto Valsesiano (/w/index.php?title=Puncetto_Valsesiano&action=edit&redlink=1) Tenerife (/wiki/Tenerife_lace) Youghal (/wiki/Youghal_lace) Embroidery (/wiki/Embroidery) Buratto (/wiki/Buratto) Filet lace (/wiki/Filet_lace) Reticella (/wiki/Reticella) Limerick (/wiki/Limerick_lace) Needlerun net (/wiki/Needlerun_net) Tambour (/wiki/Tambour_lace) Cutwork (/wiki/Cutwork) Broderie anglaise (/wiki/Broderie_anglaise) Carrickmacross (/wiki/Carrickmacross_lace) Lefkara lace (/wiki/Lefkara_lace) Saba lace (/wiki/Saba_lace) Bobbin lace (/wiki/Bobbin_lace) Mesh grounds (/wiki/Mesh_grounded_bobbin_lace) Torchon (/wiki/Torchon_lace) Freehand (/wiki/Freehand_lace) Arras (/wiki/Arras_lace) Bayeux (/wiki/Bayeux_lace) Beeralu (/w/index.php?title=Beeralu&action=edit&redlink=1) Blonde (/wiki/Blonde_lace) Bucks point (/wiki/Bucks_point_lace) Chantilly (/wiki/Chantilly_lace) Chefoo (/w/index.php?title=Chefoo_lace&action=edit&redlink=1) Cogne (/wiki/Cogne_lace) Tønder (/wiki/T%C3%B8nder_lace) Beveren (/wiki/Beveren_lace) Lille (/wiki/Lille_lace) Binche (/wiki/Binche_lace) Flanders (/wiki/Flanders_lace) Paris (/wiki/Paris_lace) Valenciennes (/wiki/Valenciennes_lace) Antwerp (/wiki/Antwerp_lace) Mechlin (/wiki/Mechlin_lace) Ipswich (/wiki/Ipswich_lace) 's Gravenmoer (/w/index.php?title=%27s_Gravenmoer_lace&action=edit&redlink=1) Mundillo (/wiki/Mundillo) Guipure (/wiki/Guipure) Greek (/wiki/Greek_lace) Genoese (/wiki/Genoese_lace) Bedfordshire (/wiki/Bedfordshire_lace) Cluny (/wiki/Cluny_lace) Dentelle du Puy (https://fr.wikipedia.org/wiki/Dentelle_du_Puy) Liptov (/wiki/Liptov) Maltese (/wiki/Maltese_lace) Yak lace (/wiki/Yak_lace) Part laces (/wiki/Part_lace) Honiton (/wiki/Honiton_lace) Bruges (/wiki/Bruges_lace) Brussels (/wiki/Brussels_lace) Rosaline (/wiki/Rosaline_lace) Point d'Angleterre (/wiki/Brussels_lace#Point_d'Angleterre) Tape (/wiki/Bobbin_tape_lace) Cantù (/w/index.php?title=Cant%C3%B9_lace&action=edit&redlink=1) Milanese (/wiki/Milanese_bobbin_lace) Hinojosa (/w/index.php?title=Hinojosa_lace&action=edit&redlink=1) Russian (/wiki/Russian_lace) Idrija (/wiki/Idrija_lace) Schneeberg (/wiki/Schneeberg_lace) Peasant (/w/index.php?title=Peasant_lace&action=edit&redlink=1) Tape lace (/wiki/Tape_lace) Mezzopunto (/w/index.php?title=Mezzopunto&action=edit&redlink=1) Princess (/wiki/Princess_lace) Renaissance (/wiki/Renaissance_lace) Battenberg (/wiki/Battenberg_lace) Romanian point (/wiki/Romanian_point_lace) Branscombe (/wiki/Branscombe_lace) Crocheted lace (/wiki/Crocheted_lace) Broomstick lace (/wiki/Broomstick_lace) Irish crochet (/wiki/Irish_lace) Hairpin (/wiki/Hairpin_lace) Filet crochet (/wiki/Filet_crochet) Orvieto lace (/w/index.php?title=Orvieto_lace&action=edit&redlink=1) Machine (/wiki/Lace_machine) -made lace Bobbinet (/wiki/Bobbinet) Leavers (/wiki/Leavers_machine) Pusher (/wiki/Pusher_machine) Barmen (/wiki/Barmen_lace_machine) Curtain Machine (/wiki/Nottingham_lace_curtain_machine) Chemical (/wiki/Chemical_lace) Raschel (/wiki/Warp_knitting) Stocking Frame (/wiki/Stocking_frame) Warp Knit (/wiki/Warp_knitting) Other handmade laces Metal laces (/wiki/Metal_lace) Lace knitting (/wiki/Lace_knitting) Macramé (/wiki/Macram%C3%A9) Tatting (/wiki/Tatting) Punto a groppo (/wiki/Punto_a_groppo) Sprang (/wiki/Sprang) Liturgical lace (/wiki/Liturgical_lace) Media related to Lace (https://commons.wikimedia.org/wiki/Category:Lace) at Wikimedia Commons Fashion portal (/wiki/Portal:Fashion) Clothing portal (/wiki/Portal:Clothing) This article about textiles (/wiki/Textile) is a stub (/wiki/Wikipedia:Stub) . You can help Wikipedia by expanding it (https://en.wikipedia.org/w/index.php?title=Appliqu%C3%A9_lace&action=edit) . v t e NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐rh8cp Cached time: 20240719052009 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1] CPU time usage: 0.226 seconds Real time usage: 0.304 seconds Preprocessor visited node count: 527/1000000 Post‐expand include size: 33465/2097152 bytes Template argument size: 390/2097152 bytes Highest expansion depth: 14/100 Expensive parser function count: 3/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 16903/5000000 bytes Lua time usage: 0.150/10.000 seconds Lua memory usage: 4149067/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 262.492 1 -total 38.73% 101.654 1 Template:Lace_types 38.46% 100.967 3 Template:Navbox 32.10% 84.263 1 Template:Reflist 27.45% 72.044 1 Template:Cite_web 22.72% 59.627 1 Template:Short_description 12.88% 33.814 2 Template:Pagetype 6.11% 16.031 3 Template:Main_other 5.84% 15.331 1 Template:Textile-stub 5.46% 14.326 1 Template:SDcat Saved in parser cache with key enwiki:pcache:idhash:11041486-0!canonical and timestamp 20240719052009 and revision id 1180671223. 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Diaper made to be worn on a body larger than that of an infant or toddler An adult diaper (or adult nappy in Australian English (/wiki/Australian_English) , British English (/wiki/British_English) , and Hiberno-English (/wiki/Hiberno-English) ) is a diaper (/wiki/Diaper) made to be worn by a person with a body larger than that of an infant or toddler. Diapers can be necessary for adults with various conditions, such as incontinence (/wiki/Urinary_incontinence) , mobility impairment (/wiki/Mobility_impairment) , severe diarrhea or dementia (/wiki/Dementia) . Adult diapers are made in various forms, including those resembling traditional child diapers, underpants (/wiki/Underpants) , and pads resembling sanitary napkins (/wiki/Sanitary_napkin) (known as incontinence pads (/wiki/Incontinence_pad) ). Superabsorbent polymer (/wiki/Superabsorbent_polymer) is primarily used to absorb bodily wastes and liquids. Adult diaper Alternative terms such as "briefs", "incontinence briefs", or "incontinence products" are also used. Global market The size of the adult diaper market in 2016 was $9.8 billion, an increase from $9.2 billion in 2015. [1] (#cite_note-1) Adult diaper sales in the United States were projected to rise 48 percent from 2015 to 2020, compared to 2.6 percent for baby diapers. [2] (#cite_note-Quartz-2) The adult incontinence market in Japan was $1.8 billion in 2016, about 20 percent of the world market. [2] (#cite_note-Quartz-2) Uses Health care "Although donning a diaper to decrease the number of bathroom stops is not something you or I would think to do, otherwise healthy adults do wear diapers more often than we realize for good reasons." —Merlene Davis of the Lexington Herald-Leader (/wiki/Lexington_Herald-Leader) , referring to the Lisa Nowak (/wiki/Lisa_Nowak) incident and adult diaper usage in general. [3] (#cite_note-merlenedavis-3) [4] (#cite_note-redorbit-4) People with medical conditions which cause them to experience urinary (/wiki/Urinary_incontinence) or fecal incontinence (/wiki/Fecal_incontinence) often require diapers or similar products because they are unable to control their bladders or bowels. People who are bedridden or in wheelchairs, including those with good bowel (/wiki/Bowel) and bladder (/wiki/Urinary_incontinence) control, may also wear diapers because they are unable to access the toilet independently. Those with cognitive impairment, such as dementia (/wiki/Dementia) , may require diapers because they may not recognize their need to reach a toilet. Men's and women's adult diapers in the form of underpants (/wiki/Underpants) . Absorbent incontinence products come in a wide range of types (drip collectors, pads, underwear and adult diapers), each with varying capacities and sizes. The largest volume of products that is consumed falls into the lower absorbency range of products, and even when it comes to adult diapers, the cheapest and least absorbent brands are used the most. This is not because people choose to use the cheapest and least absorbent brands, but rather because medical facilities are the largest consumer of adult diapers, and they have requirements to change patients as often as every two hours. As such, they select products that meet their frequent-changing needs, rather than products that could be worn longer or more comfort. [5] (#cite_note-5) An adult male in a disposable diaper worn backwards (usually there is a way to tell the front from the back of a disposable diaper; in this picture the gray rectangle is on the back of the diaper, meaning it is being worn backwards). Adult diaper Specialty diapers are required for swimming or pool therapy. These are known as swim diapers or containment swim briefs. They are intended mainly for fecal incontinence, however they can also be useful for temporary urine containment, to maintain dignity while transferring from change room to pool. Manufacturers such as Discovery Trekking, Splash About (/wiki/Splash_About_International) and Theraquatics commonly utilize a stretch fabric [6] (#cite_note-6) to allow increased adjustability for a snug fit. They are washable and reusable. Law The case Hiltibran et al v. Levy et al in the United States District Court for the Western District of Missouri (/wiki/United_States_District_Court_for_the_Western_District_of_Missouri) resulted in that court issuing an order in 2011. That order requires adult diapers funded by Medicaid (/wiki/Medicaid) to be given by Missouri to adults who would be institutionalized without them. [7] (#cite_note-7) [8] (#cite_note-8) [9] (#cite_note-9) Astronauts Astronauts (/wiki/Astronauts) wear trunklike diapers called " Maximum Absorbency Garments (/wiki/Maximum_Absorbency_Garment) ", or MAGs, during liftoff and landing. [10] (#cite_note-10) On space shuttle missions, each crew member receives three diapers—for launch, reentry and a spare in case reentry has to be waved off and tried later. [11] (#cite_note-11) The super-absorbent fabric used in disposable diapers, which can hold up to 400 times its weight, was developed so Apollo (/wiki/Apollo_program) astronauts could stay on spacewalks (/wiki/Spacewalks) and extra-vehicular activity (/wiki/Extra-vehicular_activity) for at least six hours. [3] (#cite_note-merlenedavis-3) [4] (#cite_note-redorbit-4) Originally, only female astronauts would wear Maximum Absorbency Garments, as the collection devices used by men were unsuitable for women; however, reports of their comfort and effectiveness eventually convinced men to start wearing the diapers as well. [12] (#cite_note-12) Public awareness of astronaut diapers rose significantly following the arrest of Lisa Nowak (/wiki/Lisa_Nowak) , a NASA (/wiki/NASA) astronaut charged with attempted murder, who gained notoriety in the media when the police reported she had driven 900 miles, with an adult diaper so she would not have to stop to urinate. [13] (#cite_note-LisaNowak-13) The diapers became fodder for many television comedians, as well as being included in an adaptation of the story in Law & Order: Criminal Intent (/wiki/Law_%26_Order:_Criminal_Intent) , despite Nowak's denial that she wore them. [14] (#cite_note-LisaNowakDidn'tWearDiapers-14) Fetishism Main article: Diaper Fetishism (/wiki/Diaper_Fetishism) Adult diapers are also associated with a number of sexual fetishes including diaper fetishism (/wiki/Diaper_fetishism) , in which the diaper itself is considered the main object of erotic enhancement, comfort, style, and other positive emotions. Diapers are also a common component of paraphilic infantilism (/wiki/Paraphilic_infantilism) and omorashi (/wiki/Omorashi) , and are occasionally a part of certain BDSM (/wiki/BDSM) scenes. [15] (#cite_note-Mednet2002-15) Increasingly, some companies that make or sell adult diapers have begun to supply products that specifically target and appeal to the kink community, often with higher absorbency or vibrant, cute or playful designs. Other Other situations in which diapers are worn because access to a toilet is unavailable or not allowed for longer than even a normal urinary bladder (/wiki/Urinary_bladder) can hold out include; [16] (#cite_note-16) Guards who must stay on duty and are not permitted to leave their posts; this is sometimes called the "watchman's urinal". [3] (#cite_note-merlenedavis-3) [4] (#cite_note-redorbit-4) It has long been suggested that legislators don a diaper before an extended filibuster (/wiki/Filibuster) , so often that it has been jokingly called "taking to the diaper." [3] (#cite_note-merlenedavis-3) [4] (#cite_note-redorbit-4) [17] (#cite_note-17) [18] (#cite_note-18) Some death row (/wiki/Death_row) inmates who are about to be executed (/wiki/Execution) wear "execution diapers" to collect body fluids expelled during and after their death. [3] (#cite_note-merlenedavis-3) [4] (#cite_note-redorbit-4) [19] (#cite_note-ElectricChair-19) People diving in diving suits (/wiki/Diving_suit) (in former times often standard diving dress (/wiki/Standard_diving_dress) ) may wear diapers because they are underwater continuously for several hours. [3] (#cite_note-merlenedavis-3) [20] (#cite_note-pmid22752741-20) Similarly, pilots may wear them on long flights. [3] (#cite_note-merlenedavis-3) [4] (#cite_note-redorbit-4) [21] (#cite_note-21) In 2003, Hazards (/wiki/Hazards_(magazine)) magazine reported that workers in various industries were taking to wearing diapers because their bosses denied them toilet breaks during working hours. One woman said that she was having to spend 10% of her pay on incontinence pads (/wiki/Incontinence_pad) for this reason. [22] (#cite_note-22) [23] (#cite_note-23) Chinese media reported in 2006 that diapers are a popular way to avoid long queues for the toilets on railway trains during the Lunar New Year (/wiki/Chinese_New_Year) traveling season. [24] (#cite_note-24) In Germany, younger patients in drunken coma are placed in hospital diapers. [25] (#cite_note-25) [26] (#cite_note-26) In 2020, during the COVID-19 pandemic (/wiki/COVID-19_pandemic) , the Civil Aviation Administration of China recommended that flight attendants wear disposable adult diapers to avoid using the lavatories, barring special circumstances, to avoid infection risks while working onboard aircraft. [27] (#cite_note-27) [28] (#cite_note-28) [29] (#cite_note-29) In New York City during the Holidays (such as New Year's Eve) people wear them so that they are able to relieve themselves without losing their spot. "Diapers are something that people don't want to look at, but if you make them attractive, then people can learn about them more easily." —Kiyoko Hamada of the Aging Lifestyle Research Center, a leading organizer of the 2008 Tokyo diaper fashion show. [30] (#cite_note-30) The adult diaper market in Japan is growing. [31] (#cite_note-31) On September 25, 2008, Japanese manufacturers of adult diapers conducted the world's first all-diaper fashion show, dramatizing throughout it many informative dramatic scenarios which addressed various issues relevant to older people in diapers. "It was great to see so many different types of diapers all in one showing," said Aya Habuka, 26. "I learned a lot. This is the first time that diapers are being considered as fashion." [32] (#cite_note-32) In May 2010, the Japanese adult diaper market expanded to be used as an alternative fuel source. The used diapers are shred, dried, and sterilized to be turned into fuel pellets for boilers. The fuel pellets amount for 1/3 the original weight and contains about 5,000 kcal of heat per kilogram. [33] (#cite_note-33) In September 2012, Japanese magazine SPA! (/w/index.php?title=SPA!&action=edit&redlink=1) [ ja (https://ja.wikipedia.org/wiki/SPA!) ] described the trend of wearing diapers among Japanese women. [34] (#cite_note-34) [35] (#cite_note-35) There are those who believe diapers are a preferable alternative to using the toilet. According to Dr Dipak Chatterjee of Mumbai (/wiki/Mumbai) newspaper Daily News and Analysis (/wiki/DNA_(newspaper)) , public toilet facilities are so unhygienic that it is actually safer for people—especially women—who are vulnerable to infections to wear adult diapers instead. [36] (#cite_note-36) Seann Odoms of Men's Health (/wiki/Men%27s_Health_(magazine)) magazine believes that wearing diapers can help people of all ages to maintain healthy bowel function. He himself claims to wear diapers full-time for this purported health benefit. "Diapers," he states, "are nothing other than a more practical and healthy form of underwear. They are the safe and healthy way of living." [37] (#cite_note-SeannOdoms-37) Author Paul Davidson (/wiki/Paul_Davidson_(author)) argues that it should be socially acceptable for everyone to wear diapers permanently, claiming that they provide freedom and remove the unnecessary hassle of going to the toilet, just as social advancement has offered solutions to other complications. He writes, "Make the elderly finally feel embraced instead of ridiculed and remove the teasing from the adolescent equation that affects so many children in a negative way. Give every person in this world the opportunity to live, learn, grow and urinate anywhere and anytime without societal pressure to "hold themselves in."" [38] (#cite_note-38) Dignity issues The usage of adult diapers [39] (#cite_note-39) can be a source of embarrassment (/wiki/Embarrassment) , [40] (#cite_note-WYGGYGG-40) and products are often marketed under euphemisms such as incontinence pads. In 2006, seventeen students taking a geriatrics pharmacotherapy (/wiki/Pharmacotherapy) course participated in a voluntary "diaper experience" exercise to help them understand the impact incontinence has on older adults. The students, who wore adult diapers for a day before writing a paper about it, described the experience as unfamiliar and physically challenging, noting that being in diapers had a largely negative impact on them and that better solutions to incontinence are required. However, they praised the exercise for giving them insight into incontinence and the effect it has on peoples' lives. [41] (#cite_note-DiaperExperience-41) In 2008, Ontario (/wiki/Ontario) 's Minister of Health (/wiki/Ministry_of_Health_and_Long-Term_Care_(Ontario)) George Smitherman (/wiki/George_Smitherman) revealed that he was considering wearing adult diapers himself to test their absorbency following complaints that nursing home residents were forced to remain in unchanged diapers for days at a time. Smitherman's proposal earned him criticism from unions who argued that the priority was not the capacity of the diapers but rather staff shortages affecting how often they were changed, and he later apologized. [42] (#cite_note-o758-42) [43] (#cite_note-CTVSmitherman-43) [44] (#cite_note-f257-44) [45] (#cite_note-StarSmitherman-45) See also Incontinence pad (/wiki/Incontinence_pad) Fashion portal (/wiki/Portal:Fashion) References Wikimedia Commons has media related to Adult diapers (https://commons.wikimedia.org/wiki/Category:Adult_diapers) . ^ (#cite_ref-1) "Global Diaper Industry" (https://web.archive.org/web/20190723223726/http://www.simavita.com/irm/content/global-diaper-industry.aspx) . Archived from the original (http://www.simavita.com/irm/content/global-diaper-industry.aspx) on 2019-07-23 . Retrieved 2019-02-01 . ^ a b Steger, Isabella (2019-01-28). "The next big innovation in Japan's aging economy is flushable adult diapers" (https://qz.com/1534975/the-next-big-innovation-in-aging-japan-flushable-adult-diapers/) . Quartz (publication) (/wiki/Quartz_(publication)) . Archived (https://web.archive.org/web/20190823000946/https://qz.com/1534975/the-next-big-innovation-in-aging-japan-flushable-adult-diapers/) from the original on 2019-08-23 . Retrieved 2019-02-01 . ^ a b c d e f g Davis, Merlene (February 11, 2007). "I Did My Research on Adult Diapers". Lexington Herald-Leader (/wiki/Lexington_Herald-Leader) . p. C1. ^ a b c d e f Merlene Davis (2007-02-11). "The Lexington Herald-Leader, Ky., Merlene Davis Column: I Did My Research on Adult Diapers" (https://web.archive.org/web/20110522051741/http://www.redorbit.com/news/business/836322/the_lexington_heraldleader_ky_merlene_davis_column_i_did_my/index.html) . RedOrbit. Archived from the original (http://www.redorbit.com/news/business/836322/the_lexington_heraldleader_ky_merlene_davis_column_i_did_my/index.html) on 2011-05-22 . Retrieved 2007-12-16 . ^ (#cite_ref-5) 80% of people with incontinence are wearing the wrong products (https://finneganmedicalsupply.com/blogs/news/wearing-wrong-incontinence-products) Archived (https://web.archive.org/web/20221007080113/https://finneganmedicalsupply.com/blogs/news/wearing-wrong-incontinence-products) 2022-10-07 at the Wayback Machine (/wiki/Wayback_Machine) , Finnegan Medical Supply ^ (#cite_ref-6) "Discovery Trekking Outfitters - SOSecure Containment Swim Brief" (https://web.archive.org/web/20111102014939/http://www.discoverytrekking.com/containment-swim-brief) . Archived from the original (http://www.discoverytrekking.com/containment-swim-brief) on 2011-11-02 . Retrieved 2011-10-26 . ^ (#cite_ref-7) "Recent Cases - Olmstead Rights" (https://www.olmsteadrights.org/advocacytools/recent-cases/) . www.olmsteadrights.org . Archived (https://web.archive.org/web/20230131035726/https://www.olmsteadrights.org/advocacytools/recent-cases/) from the original on 2023-01-31 . 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Toilets in New York City (/wiki/Toilets_in_New_York_City) Bryant Park restroom (/wiki/Bryant_Park_restroom) Historical terms Aphedron (/wiki/Aphedron) Chamber pot (/wiki/Chamber_pot) Close stool (/wiki/Close_stool) Dansker (/wiki/Dansker) Garderobe (/wiki/Garderobe) Gong farmer (/wiki/Gong_farmer) Groom of the Stool (/wiki/Groom_of_the_Stool) Night soil (/wiki/Night_soil) Pail closet (/wiki/Pail_closet) Privy midden (/wiki/Privy_midden) Reredorter (/wiki/Reredorter) See also Ecological sanitation (/wiki/Ecological_sanitation) History of water supply and sanitation (/wiki/History_of_water_supply_and_sanitation) Human right to water and sanitation (/wiki/Human_right_to_water_and_sanitation) Improved sanitation (/wiki/Improved_sanitation) Infection prevention and control (/wiki/Infection_prevention_and_control) Public health (/wiki/Public_health) Reuse of human excreta (/wiki/Reuse_of_human_excreta) Sanitation (/wiki/Sanitation) Sewage treatment (/wiki/Sewage_treatment) Sustainable 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Style of sleeves with flares toward the bottom A vintage maxi dress (/wiki/Maxi_dress) from the 1970s featuring bell sleeves. A bell sleeve can be either long or short and is usually set smoothly into the armscye (/wiki/Armscye) (no pleating or shirring (/wiki/Shirring) ) and flares toward the bottom. Bell sleeves end anywhere from the elbow to the wrist. Flared sleeves ending at the upper bicep are similarly shaped, but are instead called butterfly sleeves (/w/index.php?title=Butterfly_sleeves&action=edit&redlink=1) . The effect is reminiscent of a bell in its shape. If the sleeve is relatively full in circumference and is gathered or pleated into both the armhole and at the bottom, it is called a Bishop's Sleeve. A clothing with Bell sleeves from the Achaemenid (/wiki/Achaemenid_Empire) king, Khashayar shah, 5th Century BC History [ edit ] Bell sleeves were originally found on a garment called a chasuble, which was the dress of clergymen during Medieval times. The religious association of these sleeves eventually dissipated at which point the bell sleeve became adapted by the upper class. In the 1500s, the rich began to stylize the bell sleeve by making them more dramatic in size and more elaborate in decor. The trend of this sleeve made its way from the elite of France to England, where this style really took off and made its impact. [1] (#cite_note-1) The movement of the fashion trend of this sleeve moving from the lower class to the upper class is now referenced as the upward-flow theory. A performer from the Ivory Coast, wearing a dress with bell sleeves. A figure skater wearing a shirt with Bishop's sleeves See also [ edit ] Fashion portal (/wiki/Portal:Fashion) Sleeve (/wiki/Sleeve) Bell-bottoms (/wiki/Bell-bottoms) References [ edit ] ^ (#cite_ref-1) Sourcing, 04 22 2017 | Fashion Fabric (2017-04-22). "Fashion Archives: A Look at the History of the Bell Sleeve" (https://startupfashion.com/fashion-archives-a-look-at-the-history-of-the-bell-sleeve/) . StartUp FASHION . Retrieved 2019-04-26 . {{ cite web (/wiki/Template:Cite_web) }} : CS1 maint: numeric names: authors list ( link (/wiki/Category:CS1_maint:_numeric_names:_authors_list) ) This fashion (/wiki/Fashion) -related article is a stub (/wiki/Wikipedia:Stub) . You can help Wikipedia by expanding it (https://en.wikipedia.org/w/index.php?title=Bell_sleeve&action=edit) . v t e NewPP limit report Parsed by mw‐web.eqiad.main‐8645764cd7‐t26ns Cached time: 20240712175727 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1] CPU time usage: 0.302 seconds Real time usage: 0.771 seconds Preprocessor visited node count: 303/1000000 Post‐expand include size: 8479/2097152 bytes Template argument size: 501/2097152 bytes Highest expansion depth: 8/100 Expensive parser function count: 4/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 10299/5000000 bytes Lua time usage: 0.202/10.000 seconds Lua memory usage: 3387029/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 406.238 1 -total 39.30% 159.665 1 Template:Short_description 23.94% 97.255 1 Template:Cite_web 22.09% 89.755 2 Template:Main_other 21.40% 86.922 1 Template:SDcat 21.23% 86.258 1 Template:Fashion-stub 20.59% 83.625 1 Template:Asbox 12.82% 52.066 2 Template:Pagetype 7.26% 29.483 1 Template:Multiple_image 6.66% 27.060 1 Template:Portal Saved in parser cache with key enwiki:pcache:idhash:11262785-0!canonical and timestamp 20240712175727 and revision id 1185244037. Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Bell_sleeve&oldid=1185244037 (https://en.wikipedia.org/w/index.php?title=Bell_sleeve&oldid=1185244037) " Categories (/wiki/Help:Category) : Sleeves (/wiki/Category:Sleeves) Fashion stubs (/wiki/Category:Fashion_stubs) Hidden categories: CS1 maint: numeric names: authors list (/wiki/Category:CS1_maint:_numeric_names:_authors_list) Articles with short description (/wiki/Category:Articles_with_short_description) Short description matches Wikidata (/wiki/Category:Short_description_matches_Wikidata) Pages using multiple image with auto scaled images (/wiki/Category:Pages_using_multiple_image_with_auto_scaled_images) All stub articles (/wiki/Category:All_stub_articles) |
Australian clothing company This article needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Gazal_Corporation) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed. Find sources: "Gazal Corporation" (https://www.google.com/search?as_eq=wikipedia&q=%22Gazal+Corporation%22) – news (https://www.google.com/search?tbm=nws&q=%22Gazal+Corporation%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Gazal+Corporation%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Gazal+Corporation%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Gazal+Corporation%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Gazal+Corporation%22&acc=on&wc=on) ( January 2021 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Gazal Corporation Limited (Gazal, ASX (/wiki/Australian_Securities_Exchange) : GZL (https://www2.asx.com.au/markets/company/GZL) ) was a leading Australian branded clothing company and was a listed public company of the Australian Stock Exchange (/wiki/Australian_Stock_Exchange) . The company was based in Banksmeadow (/wiki/Banksmeadow) in the Australian state of New South Wales (/wiki/New_South_Wales) . Its main business areas were men's, ladies' and children's clothing, and it and its subsidiaries are engaged in the design, manufacture, importation, wholesale and retail of clothing and accessories including business shirts, school wear, surf and casual wear, as well as intimate apparel. The company owned brands such as Mambo Graphics (/wiki/Mambo_Graphics) , Davenport and Bisley Workwear and imports brands such as Nautica (/wiki/Nautica_(clothing_company)) , Calvin Klein (/wiki/Calvin_Klein) Underwear and held the license for Oroton (/wiki/Oroton) underwear. The Company had operations in Australasia and Europe. Mambo was sold to Saban Brands (/wiki/Saban_Brands) in 2015. Profile [ edit ] The Gazal Group of Companies was founded in 1958 by Joe Gazal and was listed on the ASX in 1973. In 1993, the company closed a number of its loss-making divisions, which were selling non-branded products, and decided to focus on the sale of branded products. This changed the company from a supplier of "house-brands" to a supplier of recognised national brands. Another change of approach for the company group was primarily towards the ownership of the brands that it manufactures, markets and distributes. This is a departure from its previous policy of seeking licensing arrangements. The intention is to secure a longer term tenure and greater flexibility for brand development. The group distributes its products through major retailers such as David Jones (/wiki/David_Jones_Limited) and Myer (/wiki/Myer) as well as through a range of independent retail outlets. It competes with various clothing manufacturers and distributors for the different demographics that the group targets. Trade Secret (/wiki/Trade_Secret_(company)) was sold to TJX (/wiki/TJX) in 2015. History [ edit ] 1958 - The Gazal Group of Companies was founded in Sydney, as manufacturer of men's shirts and pyjamas. 1973 - The company was listed on the Australian Stock Exchange. 1993 - The company rationalised its unbranded business and made its national brands the main focus of the Company. 1994 - The company reached an agreement with joint venture partners in Hong Kong and China to manufacture and market the Arrow brand men's shirt in China. 1996 - The company acquired the Lovable brand in Australia, New Zealand and Papua New Guinea. 1997 - The company acquired a 25% stake in Gross Industries Pty Limited. 1998 - The company secured a licence agreement to sell Nautica men's lifestyle collection brand in Australia and New Zealand. 2003 - The company acquired the Davenport Underwear Group. As part of the deal, the company also acquired Body Art Australia Pty Limited, which had the Australasian distribution rights for Calvin Klein underwear. 2005 - The company acquired the Bracks Apparel Group, which is the long-established market leader in men's pants and trousers in Australasia, famous for its renowned “Bracks slacks”. The acquisition included Bracks’ Australian business, as well as Bracks’ growing New Zealand business located in Auckland. The acquisition took the Company into additional product categories of men's casual and formal trousers and men's suits. 2008 - The company sold its remaining interest in the Mambo brand and its related Australian wholesale and retail businesses. [1] (https://www.businessspectator.com.au/bs.nsf/Article/Gazal-Corp-sells-Mambos-non-EU-assets-BB85A?OpenDocument) [ permanent dead link ] The sale was reported to have been for about $10 million, compared to the $20 million paid in March 2000. The sale included eight stores plus wholesale distribution rights to surf stores and David Jones in Australia and overseas — except for Europe, where the licence is held by British company The Outdoor Group. [2] (http://www.topstocks.com.au/stock_discussion_forum.php?action=show_thread&threadid=197234) 2011 - The company sold its Brands United retail stores to Pacific Brands (/wiki/Pacific_Brands) . 2015 - Trade Secret (/wiki/Trade_Secret_(company)) was sold to TJX (/wiki/TJX) 25 October 2015 2019 - PVH Corporation (/wiki/PVH_(company)) acquired approximately 78% of the Gazal Corporation shares. [1] (#cite_note-1) Products [ edit ] Gazal Corporation operates predominantly in the clothing industry, and divides its operation into 2 divisions: Wholesale Group - Brands include Van Heusen (/wiki/Van_Heusen_(brand)) , Bisley, Midford, Bracks, Paramount & Pierre Cardin. Retail Group - Brands include Trade Secret (/wiki/Trade_Secret_(company)) , Calvin Klein Underwear & Midford School Stores. In 2011, the group had 46 stores. See also [ edit ] Companies portal (/wiki/Portal:Companies) Fashion portal (/wiki/Portal:Fashion) Australia portal (/wiki/Portal:Australia) References [ edit ] ^ (#cite_ref-1) "PVH Corp. Completes Acquisition of Gazal Corporation Limited" (https://www.businesswire.com/news/home/20190531005341/en/PVH-Corp.-Completes-Acquisition-Gazal-Corporation-Limited) . www.businesswire.com . 2019-05-31 . Retrieved 2020-04-21 . External links [ edit ] Official website (http://www.gazal.com.au) NewPP limit report Parsed by mw‐web.codfw.main‐5f776947c‐fjp9r Cached time: 20240709035402 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.203 seconds Real time usage: 0.296 seconds Preprocessor visited node count: 599/1000000 Post‐expand include size: 16901/2097152 bytes Template argument size: 1416/2097152 bytes Highest expansion depth: 15/100 Expensive parser function count: 6/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 7307/5000000 bytes Lua time usage: 0.131/10.000 seconds Lua memory usage: 4185603/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 270.867 1 -total 32.79% 88.821 1 Template:Reflist 28.64% 77.583 1 Template:Cite_web 24.61% 66.647 1 Template:Short_description 22.94% 62.133 1 Template:More_citations_needed 21.24% 57.533 1 Template:Ambox 13.65% 36.982 2 Template:Pagetype 8.68% 23.509 1 Template:Portal 6.77% 18.350 6 Template:Main_other 5.82% 15.770 1 Template:SDcat Saved in parser cache with key enwiki:pcache:idhash:11501498-0!canonical and timestamp 20240709035402 and revision id 1216419228. 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Garment consisting of a bodice and skirt made in one or more pieces For the general concept of dress, see Clothing (/wiki/Clothing) . For other uses, see Dress (disambiguation) (/wiki/Dress_(disambiguation)) . "Dresses" redirects here. For the song by Betty Blowtorch, see Betty Blowtorch § Discography (/wiki/Betty_Blowtorch#Discography) . Various examples of dresses A dress (also known as a frock (/wiki/Frock) or a gown (/wiki/Gown) ) is a garment traditionally worn by women or girls consisting of a skirt (/wiki/Skirt) with an attached bodice (/wiki/Bodice) (or a matching bodice giving the effect of a one-piece garment (/wiki/Clothing) ). [1] (#cite_note-1) It consists of a top piece that covers the torso and hangs down over the legs. A dress can be any one-piece garment containing a skirt of any length, and can be formal (/wiki/Formal_wear) or casual (/wiki/Casual_wear) . A dress can have sleeves, straps, or be held up with elastic around the chest, leaving the shoulders bare. Dresses also vary in color. The hemlines (/wiki/Hemline) of dresses vary depending on modesty (/wiki/Modesty) , weather, fashion (/wiki/Fashion) or the personal taste of the wearer. [2] (#cite_note-Davis2007-2) Overview [ edit ] Dresses are outer garments made up of a bodice (/wiki/Bodice) and a skirt (/wiki/Skirt) and can be made in one or more pieces. [3] (#cite_note-3) [4] (#cite_note-FOOTNOTEPicken1957101-4) Dresses are generally suitable for both formal wear (/wiki/Formal_wear) and casual wear (/wiki/Casual_wear) in the West for women and girls. [4] (#cite_note-FOOTNOTEPicken1957101-4) Historically, dresses could also include other items of clothing such as corsets (/wiki/Corset) , kirtles (/wiki/Kirtle) , partlets (/wiki/Partlet) , petticoats (/wiki/Petticoat) , smocks, and stomachers (/wiki/Stomacher) . [5] (#cite_note-FOOTNOTEEdwards201720-5) [6] (#cite_note-FOOTNOTECunningham200320-6) [7] (#cite_note-FOOTNOTEEdwards201730-7) History [ edit ] 11th century [ edit ] In the 11th century, women in Europe (/wiki/Europe) wore dresses that were similar to men's tunics and were loose, with a hemline reaching to below the knees or lower. [8] (#cite_note-FOOTNOTENewman2001113-8) By the end of the century, these dresses featured a tighter fit on the arms and women's upper bodies. [8] (#cite_note-FOOTNOTENewman2001113-8) Dresses were made snug by featuring slits on the sides of the dress that were pulled tight in order to fit a woman's figure. [9] (#cite_note-FOOTNOTENewman2001114-9) 16th century [ edit ] Starting in the 1550s, middle- and upper-class women in Europe wore dresses which included a smock, stays, kirtle (/wiki/Kirtle) , gown (/wiki/Gown) , forepart, sleeves, ruff and a partlet (/wiki/Partlet) . [5] (#cite_note-FOOTNOTEEdwards201720-5) Undergarments were not worn underneath. [5] (#cite_note-FOOTNOTEEdwards201720-5) In England, Queen Elizabeth (/wiki/Elizabeth_I_of_England) dictated what kinds of dresses women were allowed to wear. [10] (#cite_note-FOOTNOTEEdwards201721-10) French women were inspired by Spanish-style bodices (/wiki/Bodice) and also wore ruffs (/wiki/Ruff_(clothing)) . [10] (#cite_note-FOOTNOTEEdwards201721-10) French dresses were known as marlottes . [11] (#cite_note-FOOTNOTEBigelow1970110-11) In Italy, dresses were known as ropa and semarra. [11] (#cite_note-FOOTNOTEBigelow1970110-11) Dresses in the 16th century also displayed surface decoration such as embroidery (/wiki/Embroidery) , with blackwork (/wiki/Blackwork) being especially popular. [12] (#cite_note-FOOTNOTEEdwards201723-12) Women's dresses in Russia (/wiki/Russia) during the 16th and 17th centuries respectively, identified a woman's place in society or their family. [13] (#cite_note-FOOTNOTEPushkareva1997120-13) 17th century [ edit ] Holland (/wiki/Holland) , as a center of textile production, was a particularly noted area of innovation in dress fashion during the 17th Century. [7] (#cite_note-FOOTNOTEEdwards201730-7) In Spain and Portugal, women wore stomachers (/wiki/Stomacher) [7] (#cite_note-FOOTNOTEEdwards201730-7) while in England and France, dresses became more "naturally" shaped. [7] (#cite_note-FOOTNOTEEdwards201730-7) Lace and slashing were popular decorations. [7] (#cite_note-FOOTNOTEEdwards201730-7) Skirts were full, with regular folds and the overskirt allowed the display of an underskirt of contrasting fabric. [7] (#cite_note-FOOTNOTEEdwards201730-7) Necklines became lower as well. [7] (#cite_note-FOOTNOTEEdwards201730-7) Embroidery that reflected scientific discoveries, such as newly discovered animals and plants were popular. [14] (#cite_note-FOOTNOTEEdwards201734-14) In the British Colonies (/wiki/British_colonization_of_the_Americas) , multi-piece dresses were also popular, though less luxurious. [15] (#cite_note-FOOTNOTEStaplesShaw2013222-15) Wealthy women living in the Spanish or Dutch colonies in the Americas copied the fashions that were popular from their homelands. [16] (#cite_note-FOOTNOTEHavelin201227-16) The three-piece dress, which had a bodice, petticoat and gown, was popular until the last 25 years of the century, in which the mantua (/wiki/Mantua_(clothing)) , or a one-piece gown, became more popular. [17] (#cite_note-FOOTNOTEEdwards201735-17) Corsets (/wiki/Corset) became more important in dresses by the 1680s. [18] (#cite_note-FOOTNOTEBigelow1970126-18) Working women, and women in slavery in the Americas (/wiki/Slavery_in_the_United_States) , used simple patterns to create shifts, wool or linen petticoats and gowns and cotton dresses. [19] (#cite_note-FOOTNOTEHavelin201226-19) The bottoms of the skirts could be tucked into the waistband when a woman was near a cooking or heating fire. [19] (#cite_note-FOOTNOTEHavelin201226-19) 18th century [ edit ] Illustration of 18th century French women Large, triangular silhouettes were favored during the 18th century, skirts were wide and supported by hoop underskirts. [20] (#cite_note-FOOTNOTEBigelow1970135-20) [21] (#cite_note-FOOTNOTEBigelow1970137-21) One-piece gowns remained popular until the middle of the century. [22] (#cite_note-FOOTNOTEEdwards201749-22) During the 1760s in France, hoop petticoats were reduced in size. [23] (#cite_note-FOOTNOTEPietsch2013400-23) Lighter colors and lighter fabrics were also favored. [24] (#cite_note-:0-24) In Colonial America, women most often wore a gown and petticoat, in which the skirt of the gown opened to reveal the petticoat (/wiki/Petticoat) underneath. [25] (#cite_note-:2-25) Women also had riding habits (/wiki/Riding_habit) which consisted of the petticoat, jacket and a waistcoat. [25] (#cite_note-:2-25) French fashion regarding dresses became very fast-changing during the later part of the 18th century. [26] (#cite_note-FOOTNOTEPietsch2013397-398-26) Throughout this period, the length of fashionable dresses varied only slightly, between ankle-length and floor-sweeping. [2] (#cite_note-Davis2007-2) Between 1740 and 1770, the robe à la française (/wiki/Sack-back_gown) was very popular with upper-class women. [27] (#cite_note-FOOTNOTEDelpierre199715-16-27) In France, the Empire style (/wiki/Empire_style) became popular after the French Revolution (/wiki/French_Revolution) . [28] (#cite_note-:1-28) This simpler style was also favored by Josephine Bonaparte (/wiki/Empress_Jos%C3%A9phine) , [28] (#cite_note-:1-28) wife of Napoleon (/wiki/Napoleon) . Other popular styles during the revolution included tunic dresses and the negligée à la patriot, which featured the red, white and blue colors of the flag. [29] (#cite_note-FOOTNOTEBigelow1970157-29) 19th century [ edit ] Empire (/wiki/Empire_silhouette) dress, 1800–1805, cotton and linen, Metropolitan Museum of Art (/wiki/Metropolitan_Museum_of_Art) (New York City) Women's dresses in the 19th century began to be classified by the time of day or purpose of the dress. [30] (#cite_note-FOOTNOTEBigelow1970183-30) High-waisted dresses were popular until around 1830. [30] (#cite_note-FOOTNOTEBigelow1970183-30) Early nineteenth century dresses in Russia were influenced by Classicism (/wiki/Classicism) and were made of thin fabrics, with some semi-transparent. [31] (#cite_note-FOOTNOTEPushkareva1997242-31) Elizabeth Vigée Le Brun (/wiki/%C3%89lisabeth_Vig%C3%A9e_Le_Brun) wore these types of dresses with a short skirt (reaching to her ankles) when she lived in Russia between 1785 and 1801 [31] (#cite_note-FOOTNOTEPushkareva1997242-31) and many Russian women copied her style. [31] (#cite_note-FOOTNOTEPushkareva1997242-31) By the 1840s, Russian women were turning to what was in fashion in Europe. [32] (#cite_note-FOOTNOTEPushkareva1997244-32) Europeans styles in dresses increased dramatically to the hoopskirt (/wiki/Hoopskirt) and crinoline (/wiki/Crinoline) -supported styles of the 1860s, [33] (#cite_note-FOOTNOTEKrohn201236-33) then fullness was draped and drawn to the back. [34] (#cite_note-FOOTNOTEBigelow1970188-34) Dresses had a "day" bodice with a high neckline (/wiki/Neckline) and long sleeves, and an "evening" bodice with a low neckline ( decollete (/wiki/Decollete) ) and very short sleeves. In Russia, metal hoopskirts were known as "malakhovs." [32] (#cite_note-FOOTNOTEPushkareva1997244-32) Skirts of the 1860s were heavily decorated. [34] (#cite_note-FOOTNOTEBigelow1970188-34) To sleep, women in the American West wore floor-length dresses of white cotton (/wiki/Cotton) with high collars displaying decoration. [35] (#cite_note-FOOTNOTEKrohn201237-35) Various Native American (/wiki/Native_Americans_in_the_United_States) people, such as the Navajo (/wiki/Navajo) and the Mescalero Apache (/wiki/Mescalero) began to adapt the designs of their dresses to look more like the European Americans they came in contact with. [36] (#cite_note-FOOTNOTEParezoJones2009384-36) Navajo women further adapted the European designs, incorporating their own sense of beauty, "creating hózhó." [37] (#cite_note-FOOTNOTEParezoJones2009384-385-37) Paper sewing patterns (/wiki/Pattern_(sewing)) for women to sew their own dresses started to be readily available in the 1860s, when the Butterick Publishing Company (/wiki/Butterick_Publishing_Company) began to promote them. [38] (#cite_note-FOOTNOTEDarnell200027-38) These patterns were graded by size, which was a new innovation. [39] (#cite_note-39) The Victorian era's (/wiki/Victorian_era) dresses were tight-fitting and decorated with pleats, rouching (/wiki/Gather_(knitting)) and frills. [28] (#cite_note-:1-28) Women in the United States who were involved in dress reform (/wiki/Victorian_dress_reform) in the 1850s found themselves the center of attention, both positive and negative. [40] (#cite_note-40) By 1881, the Rational Dress Society (/wiki/Rational_Dress_Society) had formed in reaction to the restrictive dress of the era. [28] (#cite_note-:1-28) 20th century [ edit ] French afternoon dress, circa 1903, cotton and silk, Metropolitan Museum of Art (/wiki/Metropolitan_Museum_of_Art) (New York City) In the early twentieth century, the look popularized by the Gibson Girl (/wiki/Gibson_Girl) was fashionable. [41] (#cite_note-FOOTNOTEDarnell20009-41) The upper part of women's dresses in the Edwardian era (/wiki/Edwardian_era) included a "pigeon breast" look that gave way to a corseted waist and an s-shaped silhouette. [41] (#cite_note-FOOTNOTEDarnell20009-41) Women called their dresses "waists" if one-piece, or " shirtwaists (/wiki/Shirtdress) ," if it consisted of a skirt and a blouse. [42] (#cite_note-FOOTNOTEDarnell200011-42) The bodice of the dresses had a boned lining. [42] (#cite_note-FOOTNOTEDarnell200011-42) Informally, wealthy women wore tea gowns (/wiki/Tea_gown) at home. [43] (#cite_note-FOOTNOTEDarnell200013-43) These garments were looser, though not as loose as a "wrapper," and made of expensive fabric and laces. [43] (#cite_note-FOOTNOTEDarnell200013-43) By 1910, the Edwardian look was replaced with a straighter silhouette. [44] (#cite_note-FOOTNOTEDarnell200049-44) French designer, Paul Poiret (/wiki/Paul_Poiret) , had a huge impact on the look of the time. [44] (#cite_note-FOOTNOTEDarnell200049-44) Designs developed by Poiret were available in both boutiques and also in department stores (/wiki/Department_store) . [45] (#cite_note-FOOTNOTEDarnell200050-45) Popular dresses of the time were one-piece and included lingerie dresses (/wiki/Lingerie_dress) which could be layered. [46] (#cite_note-FOOTNOTEDarnell200053-46) At around the same time, in the United States, the American Ladies Tailors' Association (/w/index.php?title=American_Ladies_Tailors%27_Association&action=edit&redlink=1) developed a dress called the suffragette suit (/w/index.php?title=Suffragette_suit&action=edit&redlink=1) , which was practical for women to work and move around in. [47] (#cite_note-47) [48] (#cite_note-48) Another innovation of the 1910s was the ready availability of factory-made clothing. [49] (#cite_note-FOOTNOTERichards2010100-49) Waistlines started out high and by 1915 were below the natural waist. [46] (#cite_note-FOOTNOTEDarnell200053-46) By 1920, waistlines were at hip-level. [46] (#cite_note-FOOTNOTEDarnell200053-46) Between 1910 and 1920 necklines were lower and dresses could be short-sleeved or sleeveless. [50] (#cite_note-FOOTNOTEDarnell200057-50) Women who worked during World War I (/wiki/World_War_I) preferred shorter dresses, which eventually became the dominant style overall. [24] (#cite_note-:0-24) In addition to the shorter dresses, waistlines were looser and the dominant colors were black, white and gray. [51] (#cite_note-FOOTNOTERichards2010100-101-51) By 1920, the "new woman" was a trend that saw lighter fabrics and dresses that were easier to put on. [52] (#cite_note-FOOTNOTEDarnell200073-52) Younger women were also setting the trends that older women started to follow. [52] (#cite_note-FOOTNOTEDarnell200073-52) The dresses of the 1920s could be pulled over the head and were short and straight. [53] (#cite_note-FOOTNOTEDarnell200077-53) It was acceptable to wear sleeveless dresses during the day. [53] (#cite_note-FOOTNOTEDarnell200077-53) Flapper (/wiki/Flapper) dresses were popular until end of the decade. [54] (#cite_note-FOOTNOTEDarnell2000105-54) During World War II (/wiki/World_War_II) , dresses were slimmer and inspired by military uniforms. [28] (#cite_note-:1-28) After WWII, the New Look, promoted by Christian Dior (/wiki/Christian_Dior) was very influential on fashion and the look of women's dresses for about a decade. [55] (#cite_note-FOOTNOTEParezoJones2009383-55) Since the 1970s, no one dress type or length has dominated fashion for long, with short and ankle-length styles often appearing side by side in fashion magazines and catalogs. [56] (#cite_note-56) Use [ edit ] Part of a series (/wiki/Category:Formal_wear) on Western dress codes (/wiki/Western_dress_codes) and corresponding attires (/wiki/Clothing) Formal (/wiki/Formal_wear) ( full dress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) ) White tie (/wiki/White_tie) Morning dress (/wiki/Morning_dress) Full dress uniform (/wiki/Full_dress_uniform) Frock coat (/wiki/Frock_coat) Evening gown (/wiki/Evening_gown) Ball gown (/wiki/Ball_gown) Semi-formal (/wiki/Semi-formal_wear) ( half dress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) ) Black tie (/wiki/Black_tie) Black lounge suit (/wiki/Black_lounge_suit) Mess dress uniform (/wiki/Mess_dress_uniform) Evening gown (/wiki/Evening_gown) Cocktail dress (/wiki/Cocktail_dress) Informal (/wiki/Informal_wear) ( undress (/wiki/Western_dress_codes#Full_dress,_half_dress,_and_undress) , "dress clothes") Suit (/wiki/Suit) Service dress uniform (/wiki/Service_dress_uniform) Cocktail dress (/wiki/Cocktail_dress) Pantsuit (/wiki/Pantsuit) Casual (/wiki/Casual_wear) (anything not above) Business casual (/wiki/Business_casual) Casual Friday (/wiki/Casual_Friday) Combat uniform (/wiki/Combat_uniform) Smart casual (/wiki/Smart_casual) Workwear (/wiki/Workwear) Streetwear (/wiki/Streetwear) Sportswear (/wiki/Sportswear) known as Sportswear (fashion) (/wiki/Sportswear_(fashion)) and Athleisure (/wiki/Athleisure) Undress (/wiki/Undress_code) Supplementary alternatives Ceremonial dress (/wiki/Ceremonial_dress) law courts (/wiki/Court_dress) royal courts (/wiki/Court_uniform_and_dress_in_the_United_Kingdom) diplomatic (/wiki/Diplomatic_uniform) academic (/wiki/Academic_dress) , etc. Religious clothing (/wiki/Religious_clothing) cassock (/wiki/Cassock) , habit (/wiki/Religious_habit) , etc. Folk costume (/wiki/Folk_costume) Distinctions Orders (/wiki/Order_(distinction)) medals (/wiki/Medal) , etc. Legend: = Day (before 6 p.m.) = Evening (after 6 p.m.) = Bow tie (/wiki/Bow_tie) colour = Ladies = Gentlemen Fashion portal (/wiki/Portal:Fashion) v t e In most varieties of formal (/wiki/Formal_wear) dress codes (/wiki/Dress_code_(Western)) in Western cultures, a dress of an appropriate style is mandatory for women. They are also very popular for special occasions such as proms (/wiki/Prom) or weddings (/wiki/Wedding) . [57] (#cite_note-57) For such occasions they, together with blouse (/wiki/Blouse) and skirt (/wiki/Skirt) , remain the de facto standard attire for many girls and women. Formal dress [ edit ] In western countries, a "formal" or white tie (/wiki/White_tie) dress code typically means tailcoats for men and full-length evening dresses (/wiki/Evening_gown) with opera-length gloves (/wiki/Evening_glove) for women. A most formal dress for women are full-length ball (/wiki/Ball_gown) or evening gowns (/wiki/Evening_gown) with evening gloves (/wiki/Evening_gloves) . Some white tie functions also request that the women wear long gloves (/wiki/Gloves) past the elbow. Basic dress [ edit ] A basic dress is a usually dark-colored dress of simple design which can be worn with various accessories (/wiki/Fashion_accessory) to suit different occasions. [58] (#cite_note-58) Different kinds of jewelry, belts, scarves, and jackets can be worn with the basic dress to dress up or down. [59] (#cite_note-59) A little black dress (/wiki/Little_black_dress) is an example of a basic dress. Bodycon dress [ edit ] Dresses in the 1930s. A promotional model (/wiki/Promotional_model) in a bodycon dress. A bodycon dress is a tight figure-hugging (/wiki/Form-fitting_garment) dress, often made from stretchy material. [60] (#cite_note-60) The name derives from "body confidence" [61] (#cite_note-61) or, originally, "body conscious", transformed into Japanese in the 1980s as "bodikon". Party dress [ edit ] A party dress designed by Paco Rabanne (/wiki/Paco_Rabanne) in 1967, as displayed at the Victoria and Albert Museum (/wiki/Victoria_and_Albert_Museum) . This was worn by Helen Bachofen von Echt (/w/index.php?title=Helen_Bachofen_von_Echt&action=edit&redlink=1) at a New York party where she danced with Frank Sinatra (/wiki/Frank_Sinatra) . [62] (#cite_note-62) A party dress is a dress worn especially for a party (/wiki/Party) . Different types of party such as children's party (/wiki/Children%27s_party) , cocktail party (/wiki/Cocktail_party) , garden party (/wiki/Garden_party) and costume party (/wiki/Costume_party) would tend to require different styles of dress. [63] (#cite_note-63) [64] (#cite_note-64) One classic style of party dress for women in modern society is the little black dress (/wiki/Little_black_dress) . [65] (#cite_note-65) Types of dresses [ edit ] Time period [ edit ] 16th century dress. Calico dress, c. 1656–1693 Late 17th century, wool and metallic thread. Russian dress, 1717 Dress c. 1750–1800 , wool and chintz. Dress c. 1770–1800 , chintz and printed cotton Classic empire line gown, muslin with tambour, c. 1805 Dress and outfit, c. 1855 Late 19th century Silk velvet, chenille and chiffon created by Jean-Philippe Worth (/w/index.php?title=Jean-Philippe_Worth&action=edit&redlink=1) [ nl (https://nl.wikipedia.org/wiki/Jean-Philippe_Worth) ] , 1903 Rayon with seed beads, c. 1925 Dance dress, 1939 Day dress, c. 1940s Lola Beer Ebner (/wiki/Lola_Beer_Ebner) in "afternoon dress", 1950 Blue satin cocktail dress, 1959 Printed dress, c. 1960 Jersey dress, c. 1970 Lengths [ edit ] Gown or Long Dress – a woman's formal dress, usually having a floor-length skirt. [66] (#cite_note-vogsew-66) Maxi dresses ( c. 1970 ) – maxi is a term used since the late 1960s [67] (#cite_note-67) for ankle-length, typically informal dresses. [66] (#cite_note-vogsew-66) Midi dress – a "midi" is used to refer to any dress or skirt that has a hem which hits at mid-calf – halfway between the knee and ankle. [66] (#cite_note-vogsew-66) Knee length dress – Hemline ends at knee height. [66] (#cite_note-vogsew-66) Mini dress (/wiki/Mini_dress) (1960s) – a very short dress that terminates above the knee. [66] (#cite_note-vogsew-66) [68] (#cite_note-delamore-68) Micro dress (right) with minidresses, 2008. – A microdress is an extremely short version of a mini. [69] (#cite_note-cumming-69) See also [ edit ] Fashion portal (/wiki/Portal:Fashion) China poblana (/wiki/China_poblana) Granny dress (/wiki/Granny_dress) History of Western fashion (/wiki/History_of_Western_fashion) Jumper dress (/wiki/Jumper_(dress)) Lingerie dress (/wiki/Lingerie_dress) List of individual dresses (/wiki/List_of_individual_dresses) Mantua (/wiki/Mantua_(clothing)) Sack-back gown (/wiki/Sack-back_gown) (also known as robe à la française) Squaw dress (/wiki/Squaw_dress) References [ edit ] Citations [ edit ] ^ (#cite_ref-1) Condra, Jill (2008). The Greenwood Encyclopedia of Clothing Through World History: 1801 to the present . Greenwood Publishing Group. p. 59. ISBN (/wiki/ISBN_(identifier)) 9780313336652 . ^ Jump up to: a b Davis, Michael (2007). Art of dress designing (1st ed.). Delhi: Global Media. ISBN (/wiki/ISBN_(identifier)) 978-81-904575-7-6 . ^ (#cite_ref-3) "The definition of dress" (http://www.dictionary.com/browse/dress) . Dictionary.com . Retrieved 29 January 2018 . ^ Jump up to: a b Picken 1957 (#CITEREFPicken1957) , p. 101. ^ Jump up to: a b c Edwards 2017 (#CITEREFEdwards2017) , p. 20. ^ (#cite_ref-FOOTNOTECunningham200320_6-0) Cunningham 2003 (#CITEREFCunningham2003) , p. 20. ^ Jump up to: a b c d e f g Edwards 2017 (#CITEREFEdwards2017) , p. 30. ^ Jump up to: a b Newman 2001 (#CITEREFNewman2001) , p. 113. ^ (#cite_ref-FOOTNOTENewman2001114_9-0) Newman 2001 (#CITEREFNewman2001) , p. 114. ^ Jump up to: a b Edwards 2017 (#CITEREFEdwards2017) , p. 21. ^ Jump up to: a b Bigelow 1970 (#CITEREFBigelow1970) , p. 110. ^ (#cite_ref-FOOTNOTEEdwards201723_12-0) Edwards 2017 (#CITEREFEdwards2017) , p. 23. ^ (#cite_ref-FOOTNOTEPushkareva1997120_13-0) Pushkareva 1997 (#CITEREFPushkareva1997) , p. 120. ^ (#cite_ref-FOOTNOTEEdwards201734_14-0) Edwards 2017 (#CITEREFEdwards2017) , p. 34. ^ (#cite_ref-FOOTNOTEStaplesShaw2013222_15-0) Staples & Shaw 2013 (#CITEREFStaplesShaw2013) , p. 222. ^ (#cite_ref-FOOTNOTEHavelin201227_16-0) Havelin 2012 (#CITEREFHavelin2012) , p. 27. ^ (#cite_ref-FOOTNOTEEdwards201735_17-0) Edwards 2017 (#CITEREFEdwards2017) , p. 35. ^ (#cite_ref-FOOTNOTEBigelow1970126_18-0) Bigelow 1970 (#CITEREFBigelow1970) , p. 126. ^ Jump up to: a b Havelin 2012 (#CITEREFHavelin2012) , p. 26. ^ (#cite_ref-FOOTNOTEBigelow1970135_20-0) Bigelow 1970 (#CITEREFBigelow1970) , p. 135. ^ (#cite_ref-FOOTNOTEBigelow1970137_21-0) Bigelow 1970 (#CITEREFBigelow1970) , p. 137. ^ (#cite_ref-FOOTNOTEEdwards201749_22-0) Edwards 2017 (#CITEREFEdwards2017) , p. 49. ^ (#cite_ref-FOOTNOTEPietsch2013400_23-0) Pietsch 2013 (#CITEREFPietsch2013) , p. 400. ^ Jump up to: a b "Costume". Funk & Wagnalls New World Encyclopedia . 2017 – via EBSCOhost. ^ Jump up to: a b "A Colonial Lady's Clothing: A Glossary of Terms" (http://www.history.org/history/clothing/women/wglossary.cfm) . Colonial Williamsburg . Retrieved 24 January 2018 . ^ (#cite_ref-FOOTNOTEPietsch2013397-398_26-0) Pietsch 2013 (#CITEREFPietsch2013) , p. 397-398. ^ (#cite_ref-FOOTNOTEDelpierre199715-16_27-0) Delpierre 1997 (#CITEREFDelpierre1997) , p. 15-16. ^ Jump up to: a b c d e "A Brief History of Women's Fashion" (https://web.archive.org/web/20180125134608/https://www.makers.com/blog/brief-history-womens-fashion-photo-gallery) . Makers . 7 September 2016. Archived from the original (https://www.makers.com/blog/brief-history-womens-fashion-photo-gallery) on 25 January 2018 . Retrieved 24 January 2018 . ^ (#cite_ref-FOOTNOTEBigelow1970157_29-0) Bigelow 1970 (#CITEREFBigelow1970) , p. 157. ^ Jump up to: a b Bigelow 1970 (#CITEREFBigelow1970) , p. 183. ^ Jump up to: a b c Pushkareva 1997 (#CITEREFPushkareva1997) , p. 242. ^ Jump up to: a b Pushkareva 1997 (#CITEREFPushkareva1997) , p. 244. ^ (#cite_ref-FOOTNOTEKrohn201236_33-0) Krohn 2012 (#CITEREFKrohn2012) , p. 36. ^ Jump up to: a b Bigelow 1970 (#CITEREFBigelow1970) , p. 188. ^ (#cite_ref-FOOTNOTEKrohn201237_35-0) Krohn 2012 (#CITEREFKrohn2012) , p. 37. ^ (#cite_ref-FOOTNOTEParezoJones2009384_36-0) Parezo & Jones 2009 (#CITEREFParezoJones2009) , p. 384. ^ (#cite_ref-FOOTNOTEParezoJones2009384-385_37-0) Parezo & Jones 2009 (#CITEREFParezoJones2009) , p. 384-385. ^ (#cite_ref-FOOTNOTEDarnell200027_38-0) Darnell 2000 (#CITEREFDarnell2000) , p. 27. ^ (#cite_ref-39) "Butterick History" (https://web.archive.org/web/20190326170413/https://butterick.mccall.com/our-company/butterick-history) . Butterick Patterns . Archived from the original (https://butterick.mccall.com/our-company/butterick-history) on 26 March 2019 . Retrieved 24 January 2018 . ^ (#cite_ref-40) Cullen-DuPont, Kathryn (2014). Encyclopedia of Women's History in America . Infobase Publishing. pp. 71–72. ISBN (/wiki/ISBN_(identifier)) 9781438110332 . ^ Jump up to: a b Darnell 2000 (#CITEREFDarnell2000) , p. 9. ^ Jump up to: a b Darnell 2000 (#CITEREFDarnell2000) , p. 11. ^ Jump up to: a b Darnell 2000 (#CITEREFDarnell2000) , p. 13. ^ Jump up to: a b Darnell 2000 (#CITEREFDarnell2000) , p. 49. ^ (#cite_ref-FOOTNOTEDarnell200050_45-0) Darnell 2000 (#CITEREFDarnell2000) , p. 50. ^ Jump up to: a b c Darnell 2000 (#CITEREFDarnell2000) , p. 53. ^ (#cite_ref-47) Greenberg, Molly (1 March 2017). "100 Years of Feminist History Explained in 10 Women's Work Suits" (https://web.archive.org/web/20171016191635/https://onlinemba.unc.edu/blog/Feminist-History-in-Womens-Work-Suits/) . UNC. Archived from the original (https://onlinemba.unc.edu/blog/Feminist-History-in-Womens-Work-Suits/) on 16 October 2017 . Retrieved 24 January 2018 . ^ (#cite_ref-48) Khan, Sarah (16 November 2016). "The fascinating history and evolution of the female pantsuit" (http://www.mariefranceasia.com/my/fashion-my/trends-and-tips-my/trend-guide-my/history-of-pantsuit-218771.html#item=1) . Marie France Asia . Retrieved 24 January 2018 . ^ (#cite_ref-FOOTNOTERichards2010100_49-0) Richards 2010 (#CITEREFRichards2010) , p. 100. ^ (#cite_ref-FOOTNOTEDarnell200057_50-0) Darnell 2000 (#CITEREFDarnell2000) , p. 57. ^ (#cite_ref-FOOTNOTERichards2010100-101_51-0) Richards 2010 (#CITEREFRichards2010) , p. 100-101. ^ Jump up to: a b Darnell 2000 (#CITEREFDarnell2000) , p. 73. ^ Jump up to: a b Darnell 2000 (#CITEREFDarnell2000) , p. 77. ^ (#cite_ref-FOOTNOTEDarnell2000105_54-0) Darnell 2000 (#CITEREFDarnell2000) , p. 105. ^ (#cite_ref-FOOTNOTEParezoJones2009383_55-0) Parezo & Jones 2009 (#CITEREFParezoJones2009) , p. 383. ^ (#cite_ref-56) "The History of Hemlines" (http://womenshistorynetwork.org/blog/?p=2804) . Women's History Network . 1 September 2013 . Retrieved 24 January 2018 . ^ (#cite_ref-57) Pundir, Nirupama (2007). Fashion technology: today and tomorrow . New Delhi: Mittal Publications. ISBN (/wiki/ISBN_(identifier)) 978-81-8324-203-5 . ^ (#cite_ref-58) "Definition of "basic dress" (http://dictionary.reference.com/browse/basic+dress) " (http://dictionary.reference.com/browse/basic+dress) . Retrieved 28 July 2013 . ^ (#cite_ref-59) Janssen, Jo Ann; Ellis, Gwen (2003). Dress Like a Million Bucks Without Spending It! . Fleming H. Revell Company. ISBN (/wiki/ISBN_(identifier)) 978-0800758325 . ^ (#cite_ref-60) Martin, Tracy (2014). The Little Black Dress: How to dress perfectly for any occasion . Ryland Peters & Small. ISBN (/wiki/ISBN_(identifier)) 9781782490210 (/wiki/Special:BookSources/9781782490210) . ^ (#cite_ref-61) Narumi, Hiroshi. "Street Style and Its Meaning in Postwar Japan" Fashion Theory: The Journal of Dress, Body & Culture , Volume 14, Number 4, December 2010, pp. 415–438 (24). doi (/wiki/Doi_(identifier)) : 10.2752/175174110X12792058833816 (https://doi.org/10.2752%2F175174110X12792058833816) . ^ (#cite_ref-62) "Dress Paco Rabanne 1967" (http://www.vam.ac.uk/images/image/25399-popup.html) , Out of London, Paris, New York 1965–1968 , V&A ^ (#cite_ref-63) Alexandra Black (2007), The Party Dress , Scriptum Editions, ISBN (/wiki/ISBN_(identifier)) 978-1-902686-59-2 ^ (#cite_ref-64) Nora Villa (1996), Children in Their Party Dress , Quite Specific Media Group, Limited, ISBN (/wiki/ISBN_(identifier)) 978-0-89676-202-2 ^ (#cite_ref-65) Amy Holman Edelman (1998), The little black dress , Aurum, ISBN (/wiki/ISBN_(identifier)) 978-1-85410-604-9 ^ Jump up to: a b c d e The Vogue Sewing Book . Vogue Patterns. 1975. p. 337 (https://archive.org/details/voguesewingbook00vogu/page/337) . ^ (#cite_ref-67) Cumming, Valerie; Cunnington, C.W.; Cunnington, P.E. (2010). The dictionary of fashion history (Rev., updated and supplemented [ed.]. ed.). Oxford: Berg. p. 130. ISBN (/wiki/ISBN_(identifier)) 9780857851437 . ^ (#cite_ref-delamore_68-0) Delamore, Philip (29 March 2007). "Mini and Midi" (https://books.google.com/books?id=Bw9eYLRzHj8C&pg=PA122) . The Wedding Dress: A Visual Sourcebook of Over 200 of the Most Beautiful Gowns Ever Made . Pavilion Books. p. 122. ISBN (/wiki/ISBN_(identifier)) 9781862057647 . ^ (#cite_ref-cumming_69-0) Cumming, Valerie; Cunnington, C. W.; Cunnington, P. E. (September 2010). The Dictionary of Fashion History . Berg. ISBN (/wiki/ISBN_(identifier)) 9781847887382 . General and cited references [ edit ] Bigelow, Marybelle S. (1970). Fashion in History: Apparel in the Western World . Minneapolis, Minnesota: Burgess Publishing Company. ISBN (/wiki/ISBN_(identifier)) 9780808702610 . fashion in history bigelow. Brockmamn, Helen L.: The Theory of Fashion Design , Wiley, 1965. Darnell, Paula Jean (2000). From Victorian to Vamp:Women's Clothing 1900–1929 . Reno, NV: Fabric Fancies. ISBN (/wiki/ISBN_(identifier)) 9781887402156 . Cunningham, Patricia A. (2003). Reforming Women's Fashion, 1850–1920: Politics, Health and Art . Kent, Ohio: The Kent State University Press. ISBN (/wiki/ISBN_(identifier)) 0873387422 . Delpierre, Madeleine (1997). Dress in France in the Eighteenth Century . Translated by Caroline Beamish. New Haven: Yale University. ISBN (/wiki/ISBN_(identifier)) 9780300071283 . Edwards, Lydia (2017). How to Read a Dress: A Guide to Changing Fashion from the 16th to the 20th Century . London: Bloomsbury Academic. ISBN (/wiki/ISBN_(identifier)) 9781472533272 . Havelin, Kate (2012). Buckskin Dresses and Pumpkin Breeches: Colonial Fashions from the 1580s to 1760s . Minneapolis: Twenty-First Century Books. p. 26 (https://archive.org/details/buckskindressesp0000have/page/26) . ISBN (/wiki/ISBN_(identifier)) 9780761358879 . dresses. Krohn, Katherine (2012). Calico Dresses and Buffalo Robes: American West Fashions from the 1840s to the 1890s . Minneapolis: Twenty-First Century Bookos. ISBN (/wiki/ISBN_(identifier)) 9780761380528 . Newman, Paul B. (2001). Daily Life in the Middle Ages . Jefferson, North Carolina: McFarland & Company, Inc. ISBN (/wiki/ISBN_(identifier)) 9780786408979 . Parezo, Nancy J.; Jones, Angelina R. (June 2009). "What's in a Name?: The 1940s–1950s 'Squaw Dress' ". American Indian Quarterly (/wiki/American_Indian_Quarterly) . 33 (3): 373–404. doi (/wiki/Doi_(identifier)) : 10.1353/aiq.0.0058 (https://doi.org/10.1353%2Faiq.0.0058) . S2CID (/wiki/S2CID_(identifier)) 162233209 (https://api.semanticscholar.org/CorpusID:162233209) . Picken, Mary Brooks (1957). The Fashion Dictionary: Fabric, Sewing, and Dress as Expressed in the Language of Fashion . New York: Funk & Wagnalls Company. Pietsch, Johannes (September 2013). "On Different Types of Women's Dresses in France in the Louis XVI Period". Fashion Theory: The Journal of Dress, Body & Culture . 17 (4): 397–416. doi (/wiki/Doi_(identifier)) : 10.2752/175174113X13673474643084 (https://doi.org/10.2752%2F175174113X13673474643084) . S2CID (/wiki/S2CID_(identifier)) 191612745 (https://api.semanticscholar.org/CorpusID:191612745) . Pushkareva, Natalia (1997). Women in Russian History: From the Tenth to the Twentieth Century . Translated and edited by Eve Levin. Armonk, New York: M.E. Sharpe. ISBN (/wiki/ISBN_(identifier)) 9780765632708 . Richards, Marlee (2010). America in the 1910s . Minneapolis: Twenty-First Century Books. ISBN (/wiki/ISBN_(identifier)) 9780822534372 . Staples, Kathleen A.; Shaw, Madelyn (2013). Clothing Through American History: The British Colonial Era . Santa Barbara, California: Greenwood. ISBN (/wiki/ISBN_(identifier)) 9780313084607 . Stoykov, Lubomir (2016). Theoretical Problems of Fashion . Sofia: National Academy of Art. ISBN (/wiki/ISBN_(identifier)) 978-954-9799-11-8 (/wiki/Special:BookSources/978-954-9799-11-8) . Tozer, Jane, and Sarah Levitt: Fabric of Society: A Century of People and Their Clothes 1770–1870 , Laura Ashley Ltd., 1983; ISBN (/wiki/ISBN_(identifier)) 0-9508913-0-4 (/wiki/Special:BookSources/0-9508913-0-4) . 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(https://commons.wikimedia.org/wiki/Category:Parties) Category (/wiki/Category:Parties) v t e Historical clothing (/wiki/History_of_clothing_and_textiles) Clothing generally not worn today, except in historical settings Body-length (/wiki/Suit) Abolla (/wiki/Abolla) Banyan (/wiki/Banyan_(clothing)) Brunswick (/wiki/Brunswick_(clothing)) Court dress (Empire of Japan) (/wiki/Court_uniform_and_dress_in_the_Empire_of_Japan) Chiton (/wiki/Chiton_(costume)) Frock (/wiki/Frock) Frock coat (/wiki/Frock_coat) Hanfu (/wiki/Hanfu) Justacorps (/wiki/Justacorps) Paenula (/wiki/Paenula) Peplos (/wiki/Peplos) Stola (/wiki/Stola) Toga (/wiki/Toga) Tunic (/wiki/Tunic) Xout lao (/wiki/Xout_lao) Tops (/wiki/Top_(clothing)) Basque (/wiki/Basque_(clothing)) Bedgown (/wiki/Bedgown) Bodice (/wiki/Bodice) Doublet (/wiki/Doublet_(clothing)) Peascod belly (/wiki/Peascod_belly) Poet shirt (/wiki/Poet_shirt) Sbai (/wiki/Sbai) Suea pat (/wiki/Suea_pat) Trousers (/wiki/Trousers) Braccae (/wiki/Braccae) Breeches (/wiki/Breeches) Sompot Chong Kben (/wiki/Sompot_Chong_Kben) Culottes (/wiki/Culottes) Harem (/wiki/Harem_pants) Knickerbockers (/wiki/Knickerbockers_(clothing)) Pedal pushers (/wiki/Pedal_pushers) Saragüells (/w/index.php?title=Sarag%C3%BCells&action=edit&redlink=1) [ ca (https://ca.wikipedia.org/wiki/Sarag%C3%BCells) ] Skirts (/wiki/Skirt) Hobble (/wiki/Hobble_skirt) Poodle (/wiki/Poodle_skirt) Safeguard (/wiki/Safeguard_(costume)) Sompot (/wiki/Sompot) Sinh (/wiki/Sinh_(clothing)) Train (/wiki/Train_(clothing)) Dresses Bliaut (/wiki/Bliaut) Close-bodied gown (/wiki/Close-bodied_gown) Debutante (/wiki/Debutante_dress) Gown (/wiki/Gown) Kirtle (/wiki/Kirtle) Mantua (/wiki/Mantua_(clothing)) Polonaise (/wiki/Polonaise_(clothing)) Robe de cour (/wiki/Robe_de_cour) Sack-back gown (/wiki/Sack-back_gown) Sailor (/wiki/Sailor_dress) Tea gown (/wiki/Tea_gown) Zaju chuishao fu (/wiki/Zaju_chuishao_fu) Outerwear (/wiki/List_of_outerwear) Capote (/wiki/Capote_(garment)) Car coat (/wiki/Car_coat) Caraco (/wiki/Caraco) Cardinal cloak (/wiki/Cardinal_cloak) Chamail (/wiki/Chamail_(clothing)) Chlamys (/wiki/Chlamys) Cloak (/wiki/Cloak) Kinsale cloak (/wiki/Kinsale_cloak) Dolman (/wiki/Dolman) Doublet (/wiki/Doublet_(clothing)) Duster (/wiki/Duster_(clothing)) Exomis (/wiki/Exomis) Greatcoat (/wiki/Greatcoat) Himation (/wiki/Himation) Houppelande (/wiki/Houppelande) Inverness cape (/wiki/Inverness_cape) Jerkin (/wiki/Jerkin) Kandys (/wiki/Kandys) Mackinaw jacket (/wiki/Mackinaw_jacket) Nadiri (/wiki/Nadiri) Norfolk jacket (/wiki/Norfolk_jacket) Overfrock (/wiki/Over-frock_coat) Pañuelo (/wiki/Pa%C3%B1uelo) Palla (/wiki/Palla_(garment)) Pallium (/wiki/Pallium_(Roman_cloak)) Pelisse (/wiki/Pelisse) Poncho (/wiki/Poncho) Shadbelly (/wiki/Shadbelly) Shawl (/wiki/Shawl) Galway shawl (/wiki/Galway_shawl) Kullu (/wiki/Kullu_shawl) Smock-frock (/wiki/Smock-frock) Spencer (/wiki/Spencer_(clothing)) Surcoat (/wiki/Surcoat) Surtout (/wiki/Surtout) Ulster coat (/wiki/Ulster_coat) Visite (/wiki/Visite) Witzchoura (/wiki/Witzchoura) Underwear (/wiki/Undergarment) Basque (/wiki/Basque_(clothing)) Bustle (/wiki/Bustle) Chausses (/wiki/Chausses) Chemise (/wiki/Chemise) Codpiece (/wiki/Codpiece) Corselet (/wiki/Corselet) Corset (/wiki/Corset) Waist cincher (/wiki/Waist_cincher) Dickey (/wiki/Dickey_(garment)) Garter (/wiki/Garter) Hoop skirt (/wiki/Hoop_skirt) Crinoline (/wiki/Crinoline) Farthingale (/wiki/Farthingale) Pannier (/wiki/Pannier_(clothing)) Hose (/wiki/Hose_(clothing)) Liberty bodice (/wiki/Liberty_bodice) Loincloth (/wiki/Loincloth) Open drawers (/wiki/Open_drawers) Pantalettes (/wiki/Pantalettes) Petticoat (/wiki/Petticoat) Peignoir (/wiki/Peignoir) Pettipants (/wiki/Pettipants) Union suit (/wiki/Union_suit) Yếm (/wiki/Y%E1%BA%BFm) Headwear (/wiki/Headgear) Anthony Eden (/wiki/Anthony_Eden_hat) Apex (/wiki/Apex_(headdress)) Arakhchin (/wiki/Arakhchin) Attifet (/wiki/Attifet) Aviator (/wiki/Aviator_hat) Ba tầm (/wiki/Ba_t%E1%BA%A7m) Bergère (/wiki/Berg%C3%A8re_hat) Blessed hat (/wiki/Blessed_sword_and_hat) Bonnet (/wiki/Bonnet_(headgear)) Capotain (/wiki/Capotain) Caubeen (/wiki/Caubeen) Cavalier (/wiki/Cavalier_hat) Coif (/wiki/Coif) Coonskin (/wiki/Coonskin_cap) Cornette (/wiki/Cornette) Dunce (/wiki/Dunce_cap) Fillet (/wiki/Fillet_(clothing)) French hood (/wiki/French_hood) Fontange (/wiki/Fontange) Futou (/wiki/Futou) Gable hood (/wiki/Gable_hood) Hennin (/wiki/Hennin) Jeongjagwan (/wiki/Jeongjagwan) Jewish (/wiki/Jewish_hat) Kausia (/wiki/Kausia) Kokoshnik (/wiki/Kokoshnik) Llawt'u (/wiki/Llawt%27u) Malahai (/wiki/Malahai) Matron's badge (/wiki/Matron%27s_badge) Miner's (/wiki/Miner%27s_cap) Mob (/wiki/Mobcap) Modius (/wiki/Modius_(headdress)) Monmouth (/wiki/Monmouth_cap) Mooskappe (/wiki/Mooskappe) Motoring hood (/wiki/Motoring_hood) Mounteere (/wiki/Mounteere_Cap) Nemes (/wiki/Nemes) Nightcap (/wiki/Nightcap_(garment)) Ochipok (/wiki/Ochipok) Pahlavi (/wiki/Pahlavi_hat) Petasos (/wiki/Petasos) Phrygian (/wiki/Phrygian_cap) Pileus (/wiki/Pileus_(hat)) Printer's (/wiki/Printer%27s_hat) Pudding (/wiki/Baby_bumper_headguard_cap) Qeleshe (/wiki/Qeleshe) Qing (/wiki/Qing_official_headwear) Salakot (/wiki/Salakot) Snood (/wiki/Snood_(headgear)) Smoking (/wiki/Smoking_cap) Tainia (/wiki/Tainia_(costume)) Taranga (/wiki/Taranga_(clothing)) Welsh Wig (/wiki/Welsh_Wig) Wimple (/wiki/Wimple) Footwear (/wiki/Footwear) Buskins (/wiki/Buskin) Calcei (/wiki/Calcei) Caligae (/wiki/Caligae) Carbatina (/wiki/Carbatina) Chinese styles (/wiki/Hanfu_footwear) Chopines (/wiki/Chopine) Duckbills (/wiki/Duckbill_shoe) Episcopal sandals (/wiki/Episcopal_sandals) Hessian (/wiki/Hessian_(boot)) Lotus shoes (/wiki/Lotus_shoes) Manchu platform shoes (/wiki/Manchu_platform_shoes) Pampooties (/wiki/Pampootie) Pattens (/wiki/Patten_(shoe)) Pigaches (/wiki/Pigache) Poulaines (/wiki/Poulaine) Socci (/wiki/Socci) Tiger-head shoes (/wiki/Tiger-head_shoes) Turnshoes (/wiki/Turnshoe) Accessories (/wiki/Fashion_accessory) Ascot tie (/wiki/Ascot_tie) Belt hook (/wiki/Belt_hook) Cointoise (/wiki/Cointoise) Cravat (early) (/wiki/Cravat_(early)) Hairpin (/wiki/Hairpin) Hatpin (/wiki/Hatpin) Jabot (/wiki/Jabot_(neckwear)) Lavallière (/wiki/Pussy_bow) Muff (/wiki/Muff_(handwarmer)) Oes (/wiki/Oes) Partlet (/wiki/Partlet) Perfumed gloves (/wiki/Perfumed_gloves) Ruff (/wiki/Ruff_(clothing)) Shoe buckle (/wiki/Shoe_buckle) Visard (/wiki/Visard) Clothing portal (/wiki/Portal:Clothing) v t e Clothing (/wiki/Clothing) History (/wiki/History_of_clothing_and_textiles) Industry (/wiki/Clothing_industry) Technology (/wiki/Clothing_technology) Terminology (/wiki/Clothing_terminology) Timeline (/wiki/Timeline_of_clothing_and_textiles_technology) Headwear (/wiki/Headgear) Beret (/wiki/Beret) Cap (/wiki/Cap) baseball (/wiki/Baseball_cap) flat (/wiki/Flat_cap) knit (/wiki/Knit_cap) Hat (/wiki/Hat) boater (/wiki/Boater) bowler (/wiki/Bowler_hat) fedora (/wiki/Fedora) homburg (/wiki/Homburg_hat) top (/wiki/Top_hat) Helmet 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(/wiki/Cardigan_(sweater)) guernsey (/wiki/Guernsey_(clothing)) hoodie (/wiki/Hoodie) jersey (/wiki/Jersey_(clothing)) polo neck (/wiki/Polo_neck) shrug (/wiki/Shrug_(clothing)) sweater vest (/wiki/Sweater_vest) twinset (/wiki/Twinset) Waistcoat (/wiki/Waistcoat) Trousers (/wiki/Trousers) Bell-bottoms (/wiki/Bell-bottoms) Bondage (/wiki/Bondage_pants) Capri (/wiki/Capri_pants) Cargo (/wiki/Cargo_pants) Chaps (/wiki/Chaps) Formal (/wiki/Formal_trousers) Go-to-hell (/wiki/Go-to-hell_pants) High water (/wiki/High-rise_(fashion)) Lowrise (/wiki/Low-rise_(fashion)) Jeans (/wiki/Jeans) Jodhpurs (/wiki/Jodhpurs) Overalls (/wiki/Overalls) Palazzo (/wiki/Palazzo_pants) Parachute (/wiki/Parachute_pants) Pedal pushers (/wiki/Pedal_pushers) Phat (/wiki/Phat_pants) Shorts (/wiki/Shorts) Bermuda (/wiki/Bermuda_shorts) dycling (/wiki/Cycling_shorts) dolphin (/wiki/Dolphin_shorts) gym (/wiki/Gym_shorts) hotpants (/wiki/Hotpants) running (/wiki/Running_shorts) Slim-fit (/wiki/Slim-fit_pants) Sweatpants 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(/wiki/Backless_dress) Bouffant gown (/wiki/Bouffant_gown) Coatdress (/wiki/Coatdress) Cocktail (/wiki/Cocktail_dress) little black (/wiki/Little_black_dress) Evening (/wiki/Evening_gown) ball gown (/wiki/Ball_gown) debutante (/wiki/Debutante_dress) Plain (/wiki/Plain_dress) Prairie (/wiki/Prairie_dress) Princess line (/wiki/Princess_line) Strapless (/wiki/Strapless_dress) Wedding (/wiki/Wedding_dress) Wrap (/wiki/Wrap_dress) Casual House (/wiki/House_dress) Jumper (/wiki/Jumper_(dress)) Romper suit (/wiki/Romper_suit) Sheath (/wiki/Sheath_dress) Shirtdress (/wiki/Shirtdress) Slip (/wiki/Slip_dress) Sundress (/wiki/Sundress) Skirts (/wiki/Skirt) A-line (/wiki/A-line_(clothing)) Ballerina (/wiki/Ballerina_skirt) Denim (/wiki/Denim_skirt) Men's (/wiki/Men%27s_skirts) Miniskirt (/wiki/Miniskirt) Pencil (/wiki/Pencil_skirt) Prairie (/wiki/Prairie_skirt) Rah-rah (/wiki/Rah-rah_skirt) Sarong (/wiki/Sarong) Skort (/wiki/Skort) Tutu (/wiki/Tutu_(clothing)) Wrap (/wiki/Wrap_(clothing)) Underwear (/wiki/Underwear) and lingerie (/wiki/Lingerie) Top Bra (/wiki/Bra) Camisole (/wiki/Camisole) Undershirt (/wiki/Undershirt) Bottom Diaper (/wiki/Diaper) Training pants (/wiki/Training_pants) Leggings (/wiki/Leggings) Panties (/wiki/Panties) Plastic pants (/wiki/Plastic_pants) Slip (/wiki/Slip_(clothing)) Thong (/wiki/Thong) Underpants (/wiki/Underpants) boxer briefs (/wiki/Boxer_briefs) boxer shorts (/wiki/Boxer_shorts) briefs (/wiki/Briefs) Full Bodysuit, adult (/wiki/Bodysuit) Bodysuit, infant (/wiki/Infant_bodysuit) Long underwear (/wiki/Long_underwear) See-through (/wiki/See-through_clothing) Teddy (/wiki/Teddy_(garment)) Coats (/wiki/Coat) and outerwear (/wiki/List_of_outerwear) Overcoats (/wiki/Overcoat) Car (/wiki/Car_coat) Chesterfield (/wiki/Chesterfield_coat) Covert (/wiki/Covert_coat) Duffel (/wiki/Duffel_coat) Duster (/wiki/Duster_(clothing)) Greatcoat (/wiki/Greatcoat) British Warm (/wiki/British_Warm) Guards Coat (/wiki/Guards_Coat) Greca 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British businessperson (born 1971) The Right Honourable (/wiki/The_Right_Honourable) The Baroness Mone OBE (/wiki/Order_of_the_British_Empire) Mone in 2013 Member of the House of Lords (/wiki/Member_of_the_House_of_Lords) Lord Temporal (/wiki/Lords_Temporal) Incumbent (/wiki/Incumbent) Assumed office 15 October 2015 Life peerage (/wiki/Life_peer) Personal details Born Michelle Georgina Allan ( 1971-10-08 ) 8 October 1971 (age 52) Glasgow (/wiki/Glasgow) , Scotland Political party Conservative (/wiki/Conservative_Party_(UK)) (until 2023) [1] (#cite_note-1) Other political affiliations Labour (/wiki/Labour_Party_(UK)) (until 2009) Spouses Michael Mone ( m. 1989–2011) Doug Barrowman (/wiki/Doug_Barrowman) ( m. 2020) Residence(s) London, United Kingdom Occupation Businesswoman (/wiki/Businessperson) , parliamentarian (/wiki/Legislator) Known for Founder of Ultimo (/wiki/Ultimo_(lingerie)) Michelle Georgina Mone, Baroness Mone , OBE (/wiki/Officer_of_the_Order_of_the_British_Empire) ( née Allan ; born 8 October 1971) is a Scottish businesswoman and life peer (/wiki/Life_peer) . She has set up several businesses, including MJM International Ltd in 1996 and the lingerie company Ultimo (/wiki/Ultimo_(lingerie)) along with her then husband Michael Mone. Other ventures include naturopathic (/wiki/Naturopathic) 'weight-loss' pills, and a fake tan (/wiki/Fake_tan) product via Ultimo Beauty. Mone became a Conservative (/wiki/Conservative_Party_(UK)) life peer in 2015. During the COVID-19 pandemic, Mone's husband's company PPE Medpro was awarded £200m of contracts to provide PPE by the UK government. The company made a profit of £60m and some of the products they provided were defective and went unused. From 2020 to 2023, Mone vehemently denied that she or her husband had any involvement with the contracts. In January 2022 The House of Lords Commissioner for Standards (/wiki/House_of_Lords_Commissioner_for_Standards) and National Crime Agency (/wiki/National_Crime_Agency) launched investigations into Mone's links to the contracts. Mone announced in December that year that she was taking a leave of absence from the House of Lords "to clear her name" amid the allegations. Shortly afterwards the UK government announced plans to sue PPE Medpro for £122 million plus costs over the defective items. In December 2023, Mone disclosed that she had been involved with PPE Medpro and said she had previously denied it to protect her family. In February 2024, a leak revealed that five months prior to £29 million of PPE Medpro's profits being transferred into a trust that Mone would benefit from, she assured the government that she wouldn't gain "any financial benefit whatsoever", and that there were "no conflicts whatsoever" with regard to the company she had recommended to the government. [2] (#cite_note-2) Early life Born on 8 October 1971, [3] (#cite_note-3) [4] (#cite_note-:5-4) Michelle Allan grew up in Glasgow's East End (/wiki/Glasgow_East_(UK_Parliament_constituency)) . She recounted how she had lived with her family in a one-bedroom house with no bath or shower until she was 10 years old. She also told of how her younger brother, who had spina bifida (/wiki/Spina_bifida) , died at the age of eight, when she was 10 years old, and that her father, who was suffering from cancer, lost the use of his legs when she was 15. [5] (#cite_note-5) [6] (#cite_note-Observer-6) She left school aged 15, with no qualifications, to pursue a modelling career. [6] (#cite_note-Observer-6) Business career Mone obtained a marketing job with the Labatt (/wiki/Labatt) brewing company [ when? ] and, within two years, had risen to become its head of marketing (/wiki/Chief_marketing_officer) in Scotland. [6] (#cite_note-Observer-6) She has since said that she invented qualifications to help get the job there. [6] (#cite_note-Observer-6) She was then made redundant by the company, prompting her, at the age of 23, to set up her own business using the redundancy compensation she received from Labatt. [6] (#cite_note-Observer-6) MJM International In November 1996, Mone founded MJM International with her then-husband Michael. [7] (#cite_note-MJM-losses-7) In August 1999, Mone launched the Ultimo (/wiki/Ultimo_(brand)) lingerie brand at Selfridges (/wiki/Selfridges) department store in London. Mone came up with the idea for the Ultimo bra, the brand's first product, when she was wearing an uncomfortable cleavage-enhancing bra one day and believed she could create a more comfortable cleavage-enhancing bra. [8] (#cite_note-Robarts-8) Mone had read about a new silicone product while on holiday in Florida and approached the company to obtain its European licence to produce bras. [6] (#cite_note-Observer-6) Mone has claimed that an Ultimo bra was worn by Julia Roberts (/wiki/Julia_Roberts) in the Hollywood (/wiki/Cinema_of_the_United_States) film Erin Brockovich (/wiki/Erin_Brockovich_(film)) , but this was denied by the film's creators. [9] (#cite_note-ww-9) Ultimo went on to include other products, such as backless dresses (/wiki/Backless_dress) and shapewear (/wiki/Foundation_garment) , which led to MJM International's growth. [10] (#cite_note-10) [11] (#cite_note-11) Mone left MJM International briefly in 2013 following the breakdown of her relationship with her then husband. The business assets were transferred to its parent firm, Ultimo Brands International Ltd, in a partnership with MAS Holdings (/wiki/MAS_Holdings) . [7] (#cite_note-MJM-losses-7) MJM International was then dissolved. In November 2014, Mone sold 80% of her stake in Ultimo Brands International to MAS Holdings. [12] (#cite_note-bbc-12) In 2014, a former operations director for MJM won a claim for unfair dismissal from her company after discovering that Mone had authorised electronic bugging of his office. [13] (#cite_note-13) Mone threatened to sue her critics when it was revealed her company MJM International had paid a substantial sum of money into a controversial tax avoidance (/wiki/Tax_avoidance) scheme, criticised by Chancellor (/wiki/Chancellor_of_the_Exchequer) George Osborne (/wiki/George_Osborne) as "morally repugnant". [14] (#cite_note-14) Following a test case brought by HMRC (/wiki/HM_Revenue_and_Customs) against Rangers Football Club (/wiki/Rangers_F.C.) , the scheme utilising an employee benefit trust (/wiki/Employee_benefit_trust) (the type of tax avoidance scheme used by MJM International) was exposed as ineffective in November 2015. Mone said she had "not done anything wrong" in relation to tax avoidance and that her ex-husband had "dealt with all the finance". [15] (#cite_note-15) In August 2015, Mone resigned her directorships (/wiki/Director_(business)) of both MJM and Ultimo, saying she had sold 80% of the latter. [12] (#cite_note-bbc-12) TrimSecrets and weight loss TrimSecrets were weight loss pills formulated by the “naturopath” Jan de Vries. The product also used diet and exercise advice. [16] (#cite_note-scotsman.com-16) In 2006 MJM formed a joint venture with de Vries, taking a 50% share in the product. [17] (#cite_note-The_first_lady_of_lingerie-17) [16] (#cite_note-scotsman.com-16) Mone claimed that exercise and reduced calorific intake had no effect on her weight and credited TrimSecrets pills for her weight loss. [16] (#cite_note-scotsman.com-16) Mone falsely claimed the efficacy of the product had been proven in clinical trials. However, when questioned further, she said that approximately 60 users had completed a questionnaire but was unable to produce the results. [17] (#cite_note-The_first_lady_of_lingerie-17) In October 2013, Jan de Vries sold his interest in the company with Mone having 60% of the business and a silent business partner the remaining 40%. [16] (#cite_note-scotsman.com-16) In August 2015 it was reported that the company had made a loss in each of the last four years for which accounts were available. [18] (#cite_note-18) In November 2015, Mone was criticised for using her "Baroness Mone"-styled Twitter account to promote TrimSecrets pills, although a spokesman for Mone said she had disposed of her ownership of the firm before her tweet. A spokesman for the British Dietetic Association (/wiki/British_Dietetic_Association) said "there is no scientific basis or rationale for these products, they are making claims which are unfounded and feeding into public confusion around nutrition and pseudo-science." [19] (#cite_note-19) On the ITV programme Loose Women (/wiki/Loose_Women) in 2020, Mone said she lost weight during the COVID-19 lockdown (/wiki/COVID-19_lockdown_in_the_United_Kingdom) by exercising three times a day. She stated: "When I was overweight and in a very uncomfortable horrible marriage, my way of coping with that was to continuously eat." [20] (#cite_note-Glasgow_Times-20) Ultimo Beauty/Ubeauty Global In 2012 Mone's company, Ultimo Beauty, launched a fake tan (/wiki/Fake_tan) product. [21] (#cite_note-21) [22] (#cite_note-22) In 2014 when announcing that she had sold most of her stake in Ultimo, she confirmed she had taken 100% control of Ubeauty Global, consisting of the assets of Ultimo Beauty. [23] (#cite_note-23) In 2016, after she was made a peer, Mone changed the company formation so that it no longer had to publish public trading accounts. In February 2017 accounts for the company were published, covering the time from 2014 to 2016 and it was revealed the company had assets of £23,000. [24] (#cite_note-24) In March 2017, Mone announced that she had sold the company. [25] (#cite_note-25) Aston Plaza development In 2017, Mone and her partner Doug Barrowman launched a £250 million residential development in Dubai which they claimed was to be the "first-ever development to be priced in bitcoin (/wiki/Bitcoin) ". [26] (#cite_note-26) In April 2019, The Sunday Times (/wiki/The_Sunday_Times) reported that the development was "on hold" with the construction incomplete, while a spokesman for Mone said that it was going "extremely well" and was in the process of being redesigned. [27] (#cite_note-27) Equi cryptocurrency In 2018, Mone and her partner Doug Barrowman launched a cryptocurrency (/wiki/Cryptocurrency) called Equi through a company called Equi Capital. [28] (#cite_note-equitimes-28) It aimed to raise $US80 million which would be invested in startup companies. [29] (#cite_note-29) Mone described herself as "one of the biggest experts in Cryptocurrency and Blockchain" [30] (#cite_note-kelly-30) and promoted the project as the "bitcoin of Britain". [31] (#cite_note-31) The company recruited 1,000 people to promote the cryptocurrency through social media, but they only raised £1,600. According to Barrowman, £5.4 million of tokens were sold in a "pre-sale offering" but the public sale beginning in March 2018 raised only £540,000. By August 2018, The Sunday Times reported that the project had "flopped" and all investors had been refunded. [28] (#cite_note-equitimes-28) The Financial Times reported that it had "ended in a fiasco that exposes the total absence of oversight in the ICO (/wiki/Initial_coin_offering) market". [30] (#cite_note-kelly-30) Media appearances Mone was profiled in 2002 in a BBC Two (/wiki/BBC_Two) documentary, Trouble at the Top: Boom or Bust . [32] (#cite_note-32) She was a presenter on a 2005 BBC One (/wiki/BBC_One) series of programmes, Mind Your Own Business , in which she gave advice to a number of small businesses. [33] (#cite_note-33) Mone appeared on nine episodes of BBC Two's The Apprentice: You're Fired! (/wiki/The_Apprentice:_You%27re_Fired!) between 2007 and 2009, [34] (#cite_note-34) and was a contestant on a 2009 celebrity edition of The Apprentice (/wiki/The_Apprentice_(British_TV_series)) . [35] (#cite_note-35) She appeared as a contestant on an ITV show, 71 Degrees North (/wiki/71_Degrees_North) in 2010. [6] (#cite_note-Observer-6) She was a contestant on Celebrity MasterChef (/wiki/Celebrity_MasterChef) in 2011. [36] (#cite_note-36) She was the subject of a BBC Radio 4 (/wiki/BBC_Radio_4) profile in 2015 on taking up a role as a government entrepreneurship tsar. [37] (#cite_note-37) Political career Mone says she previously supported the Labour Party (/wiki/Labour_Party_(UK)) , as did her family, but withdrew her support in 2009 after the prime minister (/wiki/Prime_Minister_of_the_United_Kingdom) , Gordon Brown (/wiki/Gordon_Brown) , increased the top income tax rate (/wiki/Income_tax_in_the_United_Kingdom) to 50%, also indicating that she would leave the UK. She further stated that Brown and his government mismanaged the country's finances during the global economic crisis (/wiki/Financial_crisis_of_2007%E2%80%932008) . [38] (#cite_note-38) During the London riots in August 2011 (/wiki/2011_England_riots) , Mone called for the army to be brought in and tweeted "People who riot, steal, cover face deserve zero human rights". [39] (#cite_note-39) In January 2012, she gave an interview to The Sunday Times (/wiki/The_Sunday_Times) stating her intention to move herself and her business to England were Scotland to become independent (/wiki/Scottish_independence) following the 2014 referendum (/wiki/2014_Scottish_independence_referendum) on the issue. [40] (#cite_note-40) However, despite Scotland voting No in the referendum, Mone confirmed a few months later that she was leaving Scotland. [41] (#cite_note-41) On 10 August 2015, the government announced that Mone would lead a two-part review into entrepreneurship and small businesses, particularly focusing upon setting up small businesses in deprived areas, under the Work and Pensions Secretary (/wiki/Work_and_Pensions_Secretary) , Iain Duncan Smith (/wiki/Iain_Duncan_Smith) . [42] (#cite_note-42) [43] (#cite_note-43) On 27 August 2015, the prime minister, David Cameron (/wiki/David_Cameron) , announced a list of new creations of life peers (/wiki/Life_peer) , including Mone. [44] (#cite_note-44) Her inclusion drew criticism from other business leaders. [45] (#cite_note-45) Some Conservatives questioned her suitability for the House of Lords (/wiki/House_of_Lords) . [46] (#cite_note-hs3-46) [47] (#cite_note-hs4-47) [48] (#cite_note-48) Mone was criticised on Twitter (/wiki/Twitter) when her first vote in the House of Lords was to vote against a motion to delay government cuts to tax credits of around £1,300 a year for three million low-income families. Mone responded to the controversy by tweeting that people should "work hard" and not "look for excuses" for their own poverty. [49] (#cite_note-independent.co.uk-49) In October 2016 she said that she was wrong to support the cuts and she regretted the way she voted. [50] (#cite_note-50) Attendance in House of Lords In her maiden speech in the House of Lords, Mone stated: "I look forward to playing a full and active role in your lordships’ house". The Times reported in 2018 that in the previous year, Mone had only attended the House of Lords on 12% of the days in which it was sitting, missing important debates including on the Brexit bill. [51] (#cite_note-drury-51) [30] (#cite_note-kelly-30) Her low attendance led SNP MSP (/wiki/Member_of_the_Scottish_Parliament) Rona Mackay (/wiki/Rona_Mackay) to describe her as the "Layabout Lady of Mayfair" and businessman Douglas Anderson, who had criticised her original appointment, called for her to resign. [51] (#cite_note-drury-51) By early 2022, Mone had made only five speeches in the House of Lords and asked 22 written questions. [52] (#cite_note-52) In December 2022, Mone's spokesperson said she was taking a leave of absence from the House of Lords in order to "clear her name" of allegations [see PPE Medpro controversy, below] that had been "unjustly levelled against her". At that time, Mone had not spoken in a debate since March 2020 and had last voted in April 2022. [53] (#cite_note-leave-53) PPE Medpro controversy Further information: Controversies regarding COVID-19 contracts in the United Kingdom (/wiki/Controversies_regarding_COVID-19_contracts_in_the_United_Kingdom) PPE Medpro Limited was incorporated on 12 May 2020 as a private limited company in England and Wales, registered to an address on the Isle of Man, at that time wholly owned and controlled by Anthony Page. [ citation needed ] Page had business connections with both Mone and her husband, Doug Barrowman. On the same day that PPE Medpro was incorporated, Page resigned as business as secretary for MGM Media, the company owned in whole by Mone that manages and receives payment for Mone's branding and media engagements. [54] (#cite_note-The_Herald-54) Page also served as company director of the Knox House Trust until September 2022. The Knox House Trust, wholly owned by Barrowman, has two divisions; one providing offshore wealth management services to high net worth clients, and the second, which was run by Page, is Barrowman's “family office”, also known as the Knox family office, which oversees his and his family's financial affairs. [55] (#cite_note-55) On 12 June 2020, PPE Medpro was awarded its first contract to supply personal protective equipment (/wiki/Personal_protective_equipment) (PPE) to the NHS COVID-19 pandemic (/wiki/COVID-19_pandemic_in_the_United_Kingdom) after one month of incorporation. This first contract was valued at £80.85m for the supply of 210m facemasks. Two weeks later, the company secured its second contract valued at £122m for the supply of 25m surgical gowns. [54] (#cite_note-The_Herald-54) [56] (#cite_note-:0-56) The government awarded both contracts for PPE without competitive tenders under COVID-19 emergency regulations that waived normal requirements. [56] (#cite_note-:0-56) [57] (#cite_note-57) [58] (#cite_note-58) The Guardian (/wiki/The_Guardian) later reported that throughout 2020 lawyers acting for both Mone and Barrowman "consistently and emphatically" denied any involvement with PPE Medpro when questioned; in November 2020, Mone's lawyer told The Guardian that Mone "is not connected in any way with PPE Medpro". Barrowman's lawyers repeatedly denied that he was an investor in the company or a consortium supporting it, and said he "never had any role or function in PPE Medpro". In December 2020, a lawyer instructed by Mone and Barrowman told The Guardian that "any suggestion of an association" between Mone and PPE Medpro was "inaccurate", "misleading" and "defamatory". [59] (#cite_note-:1-59) In November 2021, a Freedom of Information (/wiki/Freedom_of_Information) request revealed that Mone personally recommended the company to the government by lobbying Theodore Agnew (/wiki/Theodore_Agnew,_Baron_Agnew_of_Oulton) (then the Minister of State for Efficiency and Transformation (/wiki/Minister_of_State_for_Efficiency_and_Transformation) and cabinet minister responsible for procurement during the COVID-19 pandemic) and cabinet minister Michael Gove (/wiki/Michael_Gove) (then the chair of the COVID-19 operations subcommittee) through its VIP fast-track lane for firms with political connections and that the company was awarded £200 million in government contracts. [60] (#cite_note-60) This high-priority process was set up in the early stages of the COVID-19 pandemic in order to bypass the normal competitive tender process for procurement that was considered urgent. It further emerged in January 2022 that Mone personally recommended Medpro for a government contract five days before PPE Medpro had been formed; in one key email, sent on 8 May 2020, Mone, using her private email address, proposed supplying large quantities of PPE face masks to the government, saying they could be sourced through “my team in Hong Kong”. [61] (#cite_note-61) Despite Mone first claiming her involvement in the company went no further than a single recommendation, many further emails detailed extensive lobbying of multiple ministers and staff for months. Leaked WhatsApp (/wiki/WhatsApp) messages seen by The Guardian appeared to show Mone further discussing intimate details of the orders including the size of garments that formed part of a contract. [62] (#cite_note-62) Mone was also shown to have lobbied for LFI Diagnostics, a company established as a secret entity of her husband Barrowman's family office (/wiki/Family_office) , Knox family office. [63] (#cite_note-Second_firm-63) Lawyers for Mone and her husband denied the allegations. [64] (#cite_note-64) An unnamed source told The Guardian that Mone was "in a class of her own in terms of the sheer aggression of her advocacy" for LFI Diagnostics. Mone's lobbying of government was later described as bullying and hectoring ministers by Whitehall, and with her lobbying later accused of being "extraordinarily aggressive" and "threatening" by Matt Hancock (/wiki/Matt_Hancock) , the then Minister of Health (/wiki/Minister_of_Health_(United_Kingdom)) . [65] (#cite_note-:2-65) [66] (#cite_note-66) [67] (#cite_note-67) Following a complaint by the Labour (/wiki/Labour_Party_(UK)) peer George Foulkes (/wiki/George_Foulkes,_Baron_Foulkes_of_Cumnock) , the House of Lords commissioner for standards (/wiki/House_of_Lords_Commissioner_for_Standards) launched an investigation into the relationship between Mone and PPE Medpro in January 2022. [68] (#cite_note-68) On 27 April 2022, Mone's homes in London and on the Isle of Man (/wiki/Isle_of_Man) and associated business addresses were raided by the police, who launched an investigation into potential fraud. [69] (#cite_note-NCA_investigation-69) The National Crime Agency (/wiki/National_Crime_Agency) is pursuing a tandem investigation into PPE Medpro. [70] (#cite_note-70) It was reported that the NCA is liaising with the Crown Prosecution Service and could, ultimately, seek to bring charges under bribery or fraud laws. [65] (#cite_note-:2-65) In November 2022, The Guardian reported that an Isle of Man trust, of which Mone and her adult children are beneficiaries, had received £29 million originating from PPE Medpro via a series of offshore transactions involving Barrowman. Her lawyer had previously said she did not declare PPE Medpro in the House of Lords register of financial interests as "she did not benefit financially and was not connected to PPE Medpro in any capacity." [71] (#cite_note-71) The Financial Times (/wiki/Financial_Times) reported that according to a leaked HSBC (/wiki/HSBC) report, the bank had frozen bank accounts linked to Mone and Barrowman in 2020 during an investigation into possible corruption in securing government contracts. The bank accounts were unfrozen in November 2020 after assurances from Barrowman that neither Barrowman nor Mone had any role advising UK government officials on PPE procurement and that Mone had no involvement in the business activities of PPE Medpro. Despite such denials, the HSBC report also documented Mone telling the bank that she and Barrowman advised government ministers on procurement, with Mone complaining that the frozen accounts were damaging PPE Medpro “indicating [she] may indeed have had an interest” in the supplier. [72] (#cite_note-72) On 6 December 2022, Mone's spokesperson said she was taking a leave of absence from the House of Lords with immediate effect "in order to clear her name of the allegations that have been unjustly levelled against her." [53] (#cite_note-leave-53) [63] (#cite_note-Second_firm-63) On 19 December 2022 it emerged that the government would sue PPE Medpro for £122 million plus costs. The government said that medical gowns which were supplied by the company "did not comply with the specification in the contract" and could not be used in the NHS. PPE Medpro said it would "rigorously" defend the claim. [73] (#cite_note-73) In November 2023, after three years of denials, Mone acknowledged that Barrowman and she were involved with PPE Medpro. [59] (#cite_note-:1-59) PPE Medpro commissioned a documentary released on YouTube titled The Interview: Baroness Mone and the PPE Scandal produced by investigative journalist Mark Williams-Thomas (/wiki/Mark_Williams-Thomas) . The film said that Mone and Barrowman had been interviewed under caution. Two participants in the film told The Sunday Times that they had not been informed during production that the film was funded by PPE Medpro. [74] (#cite_note-74) A representative acting for Barrowman confirmed that half the money required upfront was "provided by the Family Office of Doug Barrowman", part of the Knox firm ultimately controlled by Barrowman which manages his private wealth. [59] (#cite_note-:1-59) The representative also said that Barrowman "was the chairman and leader of the PPE Medpro consortium that supplied the UK government". [59] (#cite_note-:1-59) [75] (#cite_note-:3-75) In December, Mone featured in another interview on Laura Kuenssberg (/wiki/Laura_Kuenssberg) 's BBC show in which she stated that she had lied to the press "to protect my family", adding that this was "not a crime". [76] (#cite_note-76) [77] (#cite_note-77) On 26 January 2024, assets controlled by Mone and her husband were frozen under a court order obtained by the Crown Prosecution Service (/wiki/Crown_Prosecution_Service) . [78] (#cite_note-78) [79] (#cite_note-79) [80] (#cite_note-80) The Financial Times (/wiki/Financial_Times) reported that restrictions had been placed over £75m worth of assets, including a townhouse in Belgravia (/wiki/Belgravia) , properties in Glasgow (/wiki/Glasgow) , an estate on the Isle of Man (/wiki/Isle_of_Man) and numerous bank accounts. [81] (#cite_note-81) In June 2024 it was reported that a 46-year-old man, who was not named, had been arrested in connection with the criminal investigation into PPE Medpro, on suspicion of conspiracy to commit fraud and attempting to pervert the course of justice. [82] (#cite_note-82) Awards and recognition On 21 November 2002, Paisley University (/wiki/Paisley_University) awarded her an honorary doctorate (/wiki/Honorary_degree) . [83] (#cite_note-83) Mone was appointed Officer of the Order of the British Empire (/wiki/Officer_of_the_Order_of_the_British_Empire) (OBE) for her "services to the lingerie industry" in the 2010 New Year Honours (/wiki/2010_New_Year_Honours) . [84] (#cite_note-84) [85] (#cite_note-85) [86] (#cite_note-86) After consultation with the College of Arms (/wiki/College_of_Arms) , on 30 September 2015, she was created a life peer (/wiki/Life_peer) as Baroness Mone , of Mayfair in the City of Westminster. [87] (#cite_note-87) She was introduced in the House of Lords (/wiki/House_of_Lords) on 15 October by fellow Conservative (/wiki/Conservative_Party_(UK)) peers (/wiki/Peerage_of_the_United_Kingdom) Lord Freud (/wiki/Lord_Freud) and Baroness Morris of Bolton (/wiki/Baroness_Morris_of_Bolton) . [88] (#cite_note-88) She was recognised as one of the BBC's 100 women of 2017. [89] (#cite_note-89) Personal life Aged 17, Allan met her future husband, Michael Mone, and by 18 was pregnant with her first child, Rebecca. [6] (#cite_note-Observer-6) She then converted from Protestantism (/wiki/Protestantism) to Catholicism (/wiki/Catholicism) and married Michael, an anaesthetist (/wiki/Anaesthetist) 's son from a Catholic family. [6] (#cite_note-Observer-6) In November 2013 Mone gave Hello! a tour of her home in Glasgow and falsely claimed that Albert Einstein (/wiki/Albert_Einstein) once lived there. [90] (#cite_note-90) When questioned about this claim by The National in 2023, she threatened to take legal action against the newspaper. [91] (#cite_note-91) [92] (#cite_note-92) [93] (#cite_note-93) Mone's autobiography, My Fight to the Top was published in 2015. [94] (#cite_note-94) On 26 December 2018 Mone announced her engagement to Scottish businessman Douglas Barrowman (/wiki/Douglas_Barrowman) . They were married on 29 November 2020. [95] (#cite_note-95) In December 2021, a wealth manager (/wiki/Wealth_management) of Indian heritage accused Mone of sending racist (/wiki/Racist) text messages to him after the two were involved in a 2019 yachting incident in Monaco (/wiki/Monaco) , which resulted in the death of a person. He said that Mone called him "a waste of a man's white skin" via text. [96] (#cite_note-96) A spokesperson for Mone said she was not a racist and "Baroness Mone and her husband have built over 15 schools in Africa in the past three years"; this was followed by a message from her lawyers, who said that Mone could not access her messages and had no "detailed memory of them". [97] (#cite_note-Conn-97) Mone's spokesperson said it was "illogical she would have made such a comment or made it with the slightest racist intent as, at the time, she had no knowledge that the complainant was anything other than white British, as his appearance is 100% white, with a cut-glass English accent." [97] (#cite_note-Conn-97) The allegations of racism were referred to the House of Lords Commissioner for Standards (/wiki/House_of_Lords_Commissioner_for_Standards) , but commissioners did not investigate the matter as Mone's comments were said in a personal capacity and not in her capacity as a member of the House of Lords. [97] (#cite_note-Conn-97) In January 2022, the Metropolitan Police (/wiki/Metropolitan_Police) announced they were investigating the incident after receipt of an allegation of a racially aggravated malicious communication. [98] (#cite_note-98) In August 2022, Mone reached a settlement "on a no fault or damages basis in relation to the alleged racist claim", according to The Guardian ; the settlement also involved a payment to the other party. [99] (#cite_note-99) Mone and Barrowman own the Ballakew estate in St. Mark's (/wiki/St._Mark%27s,_Isle_of_Man) on the Isle of Man (/wiki/Isle_of_Man) . The estate is set over 154 acres. The nine bedroomed house was described by Country Life (/wiki/Country_Life_(magazine)) as having "a list of leisure facilities which would make a 5-star hotel blush" with "tennis courts, helipad and grand architecture which will turn heads". The house also has an indoor pool and an amphitheatre. [100] (#cite_note-CL20-100) It was put up for sale in 2019 for £25 million. [101] (#cite_note-IOM19-101) [100] (#cite_note-CL20-100) References Fashion portal (/wiki/Portal:Fashion) Politics portal (/wiki/Portal:Politics) ^ (#cite_ref-1) Quinn, Andrew (18 December 2023). "Michelle Mone is no longer a Conservative Party member" (https://www.dailyrecord.co.uk/news/politics/michelle-mone-no-longer-conservative-31698427) . Daily Record . Retrieved 18 December 2023 . ^ (#cite_ref-2) Conn, David (7 February 2024). "Leak reveals Michelle Mone told government she would not benefit financially from PPE firm" (https://www.theguardian.com/uk-news/2024/feb/07/leak-reveals-michelle-mone-told-government-she-would-not-benefit-financially-from-ppe-firm-medpro) . The Guardian . Retrieved 7 February 2024 . ^ (#cite_ref-3) Sibun, Jonathan (8 December 2007). "Michelle Mone, the Bra Queen" (https://www.telegraph.co.uk/finance/markets/2820804/Michelle-Mone-the-Bra-Queen.html) . The Telegraph . 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"Baroness Mone*" (https://www.thetimes.co.uk/article/baroness-michelle-mone-ppe-bc66lmxtq) . The Times (/wiki/The_Times) . ISSN (/wiki/ISSN_(identifier)) 0140-0460 (https://www.worldcat.org/issn/0140-0460) . Retrieved 9 February 2024 . ^ (#cite_ref-93) "When Michelle Mone put The National 'on legal notice' over Albert Einstein claim" (https://www.thenational.scot/news/23997558.michelle-mone-put-national-on-legal-notice/) . The National . 18 December 2023 . Retrieved 9 February 2024 . ^ (#cite_ref-94) Brooks, Libby (20 March 2015). "Michelle Mone of Ultimo: 'In business you have got to have balls of steel' (https://www.theguardian.com/business/2015/mar/20/michelle-mone-of-ultimo-in-business-you-have-got-to-have-balls-of-steel) " (https://www.theguardian.com/business/2015/mar/20/michelle-mone-of-ultimo-in-business-you-have-got-to-have-balls-of-steel) . 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Retrieved 17 January 2023 . External links Official Michelle Mone website (http://www.michellemone.com/) Profile (https://www.parliament.uk/biographies/https://members.parliament.uk/member/4544/career) at the Parliament of the United Kingdom (/wiki/Parliament_of_the_United_Kingdom) Current session contributions in Parliament (https://hansard.parliament.uk/search/MemberContributions?memberId=4544) at Hansard (/wiki/Hansard) Voting record (https://www.publicwhip.org.uk/mp.php?mpn=Baroness_Mone) at PublicWhip.org (/wiki/PublicWhip.org) Record in Parliament (https://www.theyworkforyou.com/peer/baroness_mone) at TheyWorkForYou.com (/wiki/TheyWorkForYou) Authority control databases (/wiki/Help:Authority_control) International VIAF (https://viaf.org/viaf/18146094137400330454) National United States (https://id.loc.gov/authorities/nb2016006569) People UK Parliament (https://id.parliament.uk/LWv3SsM9) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐2fb8g Cached time: 20240719211025 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 1.230 seconds Real time usage: 1.524 seconds Preprocessor visited node count: 13792/1000000 Post‐expand include size: 225231/2097152 bytes Template argument size: 7889/2097152 bytes Highest expansion depth: 22/100 Expensive parser function count: 15/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 396798/5000000 bytes Lua time usage: 0.773/10.000 seconds Lua memory usage: 10983194/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 1388.272 1 -total 43.91% 609.563 1 Template:Reflist 27.51% 381.900 1 Template:Infobox_officeholder 24.94% 346.238 60 Template:Cite_news 11.84% 164.369 39 Template:Cite_web 6.33% 87.830 1 Template:Birth_date_and_age 6.30% 87.405 1 Template:Ubl 6.21% 86.228 1 Template:Authority_control 6.13% 85.130 17 Template:Infobox_officeholder/office 5.86% 81.343 1 Template:Short_description Saved in parser cache with key enwiki:pcache:idhash:11638472-0!canonical and timestamp 20240719211025 and revision id 1229067077. Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Michelle_Mone,_Baroness_Mone&oldid=1229067077 (https://en.wikipedia.org/w/index.php?title=Michelle_Mone,_Baroness_Mone&oldid=1229067077) " Categories (/wiki/Help:Category) : 1971 births (/wiki/Category:1971_births) Living people (/wiki/Category:Living_people) Scottish fashion designers (/wiki/Category:Scottish_fashion_designers) Officers of the Order of the British Empire (/wiki/Category:Officers_of_the_Order_of_the_British_Empire) Businesspeople from Glasgow (/wiki/Category:Businesspeople_from_Glasgow) People from Thorntonhall (/wiki/Category:People_from_Thorntonhall) Scottish Roman Catholics (/wiki/Category:Scottish_Roman_Catholics) Scottish businesspeople in fashion (/wiki/Category:Scottish_businesspeople_in_fashion) Conservative Party (UK) life peers (/wiki/Category:Conservative_Party_(UK)_life_peers) Life peeresses created by Elizabeth II (/wiki/Category:Life_peeresses_created_by_Elizabeth_II) British monarchists (/wiki/Category:British_monarchists) 20th-century Scottish businesspeople (/wiki/Category:20th-century_Scottish_businesspeople) 21st-century Scottish businesspeople (/wiki/Category:21st-century_Scottish_businesspeople) Scottish company founders (/wiki/Category:Scottish_company_founders) Converts to Roman Catholicism from Protestantism (/wiki/Category:Converts_to_Roman_Catholicism_from_Protestantism) Labour Party (UK) people (/wiki/Category:Labour_Party_(UK)_people) Politicians from Glasgow (/wiki/Category:Politicians_from_Glasgow) Scottish Conservative politicians (/wiki/Category:Scottish_Conservative_politicians) British women fashion designers (/wiki/Category:British_women_fashion_designers) 21st-century British women politicians (/wiki/Category:21st-century_British_women_politicians) Hidden categories: Pages containing London Gazette template with parameter supp set to y (/wiki/Category:Pages_containing_London_Gazette_template_with_parameter_supp_set_to_y) CS1 errors: missing title (/wiki/Category:CS1_errors:_missing_title) CS1 errors: bare URL (/wiki/Category:CS1_errors:_bare_URL) Articles with short description (/wiki/Category:Articles_with_short_description) Short description matches Wikidata (/wiki/Category:Short_description_matches_Wikidata) Wikipedia indefinitely semi-protected pages (/wiki/Category:Wikipedia_indefinitely_semi-protected_pages) Good articles (/wiki/Category:Good_articles) EngvarB from September 2014 (/wiki/Category:EngvarB_from_September_2014) Use dmy dates from December 2022 (/wiki/Category:Use_dmy_dates_from_December_2022) All articles with vague or ambiguous time (/wiki/Category:All_articles_with_vague_or_ambiguous_time) Vague or ambiguous time from February 2024 (/wiki/Category:Vague_or_ambiguous_time_from_February_2024) All articles with unsourced statements (/wiki/Category:All_articles_with_unsourced_statements) Articles with unsourced statements from December 2023 (/wiki/Category:Articles_with_unsourced_statements_from_December_2023) Articles with VIAF identifiers (/wiki/Category:Articles_with_VIAF_identifiers) Articles with LCCN identifiers (/wiki/Category:Articles_with_LCCN_identifiers) Articles with UKPARL identifiers (/wiki/Category:Articles_with_UKPARL_identifiers) |
Not to be confused with McGill Street (Montreal) (/wiki/McGill_Street_(Montreal)) . McGill College Avenue View from Place Ville Marie. Native name avenue McGill College ( French (/wiki/French_language) ) Location Between Roddick Gates (/wiki/Roddick_Gates) and Place Ville Marie (/wiki/Place_Ville_Marie) Major junctions R-138 (/wiki/Quebec_Route_138) Sherbrooke Street Construction Construction start 1857 McGill College Avenue (officially in French (/wiki/French_language) : avenue McGill College ) is a street in downtown (/wiki/Downtown_Montreal) Montreal (/wiki/Montreal) , Quebec (/wiki/Quebec) , Canada. Named for McGill University (/wiki/McGill_University) , the street was widened in the 1980s and transformed into a scenic avenue with McGill's Roddick Gates (/wiki/Roddick_Gates) on Sherbrooke Street (/wiki/Sherbrooke_Street) at its north end and the Place Ville Marie (/wiki/Place_Ville_Marie) plaza at its south end. History [ edit ] McGill College Avenue in 1869, following a snow storm, looking south from Sherbrooke Street (/wiki/Sherbrooke_Street) . The street was first laid out in 1857, on the axis leading up to the original McGill College Building, now the Arts Building of McGill University. Proposals to widen McGill College date back to at least 1952, when the French architect Jacques Greber (/wiki/Jacques_Greber) submitted a design to the City of Montreal (/wiki/City_of_Montreal) . [1] (#cite_note-fiche-1) In 1983, the plan to widen McGill College as a scenic avenue was imperiled by a proposal to house a concert hall (/wiki/Concert_hall) in Place Montreal Trust (/wiki/Place_Montreal_Trust) , with a design for an office tower that would have partially obstructed the view of Mount Royal (/wiki/Mount_Royal) . The plan encountered public opposition, including from architectural activist Phyllis Lambert (/wiki/Phyllis_Lambert) , a member of the board of directors of Cadillac Fairview (/wiki/Cadillac_Fairview) , the project's developer. This idea of a concert hall on McGill College was abandoned in favour of a design for Place Montreal Trust with a wider setback. [2] (#cite_note-Kolber-2) Montreal's concert hall would instead be built further east, as part of the Place des Arts (/wiki/Place_des_Arts) complex. Structures [ edit ] The Illuminated Crowd ., " La_Foule_illuminée (/w/index.php?title=La_Foule_illumin%C3%A9e&action=edit&redlink=1) [ fr (https://fr.wikipedia.org/wiki/La_Foule_illumin%C3%A9e) ] ". Only four blocks in length, buildings along McGill College include 1981 McGill College (/wiki/1981_McGill_College) 1253 McGill College (/wiki/1253_McGill_College_Avenue) , 1501 McGill College (/wiki/1501_McGill_College) , Place Montreal Trust and its adjoining Bell Media Tower (/wiki/Bell_Media_Tower) , 2000 McGill College (/wiki/2000_McGill_College) and Centre Eaton (/wiki/Centre_Eaton) . Public art on the street includes the sculpture The Illuminated Crowd by Raymond Mason (/wiki/Raymond_Mason_(sculptor)) , in front of 1981 McGill College (/wiki/1981_McGill_College) . [3] (#cite_note-3) The Mount Royal Tunnel (/wiki/Mount_Royal_Tunnel) runs directly under the avenue. [4] (#cite_note-4) Events [ edit ] Photo exhibit on McGill College. During the summer, the west sidewalk is the site of photography exhibitions by the nearby McCord Museum (/wiki/McCord_Museum) . [5] (#cite_note-5) Since 2001, the street has been the site of the Montréal Fashion and Design Festival, which takes place each year in early August. [6] (#cite_note-Lafrance-6) References [ edit ] ^ (#cite_ref-fiche_1-0) "Fiche du Secteur: Rue Sherbrooke Ouest (Campus McGill)" (http://patrimoine.ville.montreal.qc.ca/inventaire/fiche_zone.php?arrondissement=0&batiment=oui&lignes=25&debut=25&id=1139) . Grand répertoire du patrimoine bâti de Montréal (in French). City of Montreal (/wiki/City_of_Montreal) . June 4, 2007 . Retrieved January 7, 2012 . ^ (#cite_ref-Kolber_2-0) Kolber, Leo (/wiki/Leo_Kolber) ; L. Ian MacDonald (/wiki/L._Ian_MacDonald) (2003). Leo, a life . Montreal, Que.: McGill-Queen's University Press (/wiki/McGill-Queen%27s_University_Press) . pp. 163–164. ISBN (/wiki/ISBN_(identifier)) 978-0-7735-2634-1 . Retrieved January 5, 2012 . ^ (#cite_ref-3) "Square Dorchester & Downtown" (https://web.archive.org/web/20080307141607/http://www.nationalgeographic.com/destinations/Montreal/Square_Dorchester_Downtown.html) . National Geographic . Archived from the original (http://www.nationalgeographic.com/destinations/Montreal/Square_Dorchester_Downtown.html) on March 7, 2008. ^ (#cite_ref-4) OpenStreetMap (https://www.openstreetmap.org/?mlat=45.503888888889&mlon=-73.571666666667&zoom=12#map=17/45.50238/-73.57433) ^ (#cite_ref-5) "Configurations: Photographic Memory on McGill College Avenue" (https://web.archive.org/web/20080626221531/http://www.mccord-museum.qc.ca/en/info/pressreleases/119z21.html) . McCord Museum website . Archived from the original (http://www.mccord-museum.qc.ca/en/info/pressreleases/119z21.html) on June 26, 2008. ^ (#cite_ref-Lafrance_6-0) Lafrance, Annie (July 28, 2011). "La mode dans la rue" (http://www.cyberpresse.ca/le-soleil/vivre-ici/mode/201107/27/01-4421532-la-mode-dans-la-rue.php) (French) . Le Soleil (/wiki/Le_Soleil_(Quebec)) . Quebec City (/wiki/Quebec_City) . Retrieved January 6, 2012 . External links [ edit ] Christopher DeWolf (December 15, 2007). "The Evolution of McGill College Avenue" (http://www.urbanphoto.net/blog/2007/12/15/the-evolution-of-mcgill-college-avenue/) . URBANPHOTO . Retrieved March 28, 2008 . Montréal Fashion and Design Festival (https://web.archive.org/web/20120118033706/http://www.festivalmodedesign.com/homepage/) v t e Roads, bridges (/wiki/List_of_bridges_to_the_Island_of_Montreal) and tunnels in Montreal (/wiki/Montreal) North–south streets Boulevard Saint-Charles (/wiki/Boulevard_Saint-Charles) Boulevard Saint-Jean (/wiki/Boulevard_Saint-Jean) Boulevard Des Sources (/wiki/Boulevard_Des_Sources) Laurentian Boulevard (/wiki/Quebec_Route_117) Décarie Boulevard (/wiki/D%C3%A9carie_Boulevard) Greene Avenue (/wiki/Greene_Avenue_(Montreal)) Atwater Avenue (/wiki/Atwater_Avenue) Côte-des-Neiges Road (/wiki/C%C3%B4te-des-Neiges_Road) Guy Street (/wiki/Guy_Street) Mackay Street (/wiki/Mackay_Street) Bishop Street (/wiki/Bishop_Street) Crescent Street (/wiki/Crescent_Street) Mountain Street (/wiki/De_la_Montagne_Street) Drummond Street (/wiki/Drummond_Street_(Montreal)) Stanley Street (/wiki/Stanley_Street_(Montreal)) Peel Street (/wiki/Peel_Street_(Montreal)) Metcalfe Street 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(/wiki/Laurier_Avenue_(Montreal)) Côte-Saint-Luc Road (/wiki/C%C3%B4te-Saint-Luc_Road) Queen Mary Road (/wiki/Queen_Mary_Road) Côte-Sainte-Catherine Road (/wiki/C%C3%B4te-Sainte-Catherine_Road) Beaubien Street (/wiki/Beaubien_Street) Van Horne Avenue (/wiki/Van_Horne_Avenue) Jean Talon Street (/wiki/Jean_Talon_Street) Jarry Street Côte-Vertu Boulevard (/wiki/C%C3%B4te-Vertu_Boulevard) Henri Bourassa Boulevard (/wiki/Henri_Bourassa_Boulevard) Pierrefonds Boulevard (/wiki/Pierrefonds_Boulevard) Gouin Boulevard (/wiki/Gouin_Boulevard) LaSalle Boulevard (/wiki/LaSalle_Boulevard) Expressways (/wiki/Autoroutes_of_Quebec) A-10 (Bonaventure) (/wiki/Quebec_Autoroute_10) A-13 (Chomedey) (/wiki/Quebec_Autoroute_13) A-15 (Décarie / Des Laurentides) (/wiki/Quebec_Autoroute_15) A-19 (Papineau) (/wiki/Quebec_Autoroute_19) A-20 (Du Souvenir) (/wiki/Quebec_Autoroute_20) A-25 (Louis-H.-Lafontaine) (/wiki/Quebec_Autoroute_25) A-40 (Metropolitan) (/wiki/Quebec_Autoroute_40) A-520 (Côte-de-Liesse) (/wiki/Quebec_Autoroute_520) Décarie Interchange (/wiki/D%C3%A9carie_Interchange) Turcot Interchange (/wiki/Turcot_Interchange) Highways (/wiki/List_of_Quebec_provincial_highways) Route 112 (Bridge / Mountain) (/wiki/Quebec_Route_112) Route 117 (Laurentian / Marcel Laurin) (/wiki/Quebec_Route_117) Route 125 (Pie-IX) (/wiki/Quebec_Route_125) Route 134 (Papineau / De Lorimier) (/wiki/Quebec_Route_134) Route 136 (Ville-Marie) (/wiki/Quebec_Route_136_(Montreal)) Route 138 (Sherbrooke / Saint-Jacques) (/wiki/Quebec_Route_138) Route 335 (Saint-Denis / Lajeunesse) (/wiki/Quebec_Route_335) Bridges and tunnels (/wiki/List_of_bridges_to_the_Island_of_Montreal) Samuel-De Champlain (/wiki/Samuel-De_Champlain_Bridge) Charles de Gaulle (/wiki/Charles_de_Gaulle_Bridge) Galipeault (/wiki/Galipeault_Bridge) Honoré Mercier (/wiki/Honor%C3%A9_Mercier_Bridge) Jacques Cartier (/wiki/Jacques_Cartier_Bridge) Île aux Tourtes (/wiki/%C3%8Ele_aux_Tourtes_Bridge) Louis-Hippolyte Lafontaine (/wiki/Louis-Hippolyte_Lafontaine_Bridge%E2%80%93Tunnel) Louis Bisson (/wiki/Louis_Bisson_Bridge) Médéric Martin (/wiki/M%C3%A9d%C3%A9ric_Martin_Bridge) Olivier-Charbonneau (/wiki/Olivier-Charbonneau_Bridge) Papineau-Leblanc (/wiki/Papineau-Leblanc_Bridge) Pie IX (/wiki/Pie_IX_Bridge) Le Gardeur (/wiki/Le_Gardeur_Bridge) Viau (/wiki/Viau_Bridge) Ville-Marie (/wiki/Quebec_Route_136_(Montreal)) Victoria (/wiki/Victoria_Bridge_(Montreal)) Category (/wiki/Category:Montreal) WikiProject (/wiki/Wikipedia:WikiProject_Montreal) v t e Fashion weeks (/wiki/Fashion_week) By location "Big four" New York (/wiki/New_York_Fashion_Week) London (/wiki/London_Fashion_Week) Milan (/wiki/Milan_Fashion_Week) Paris (/wiki/Paris_Fashion_Week) Others Amsterdam (/wiki/Amsterdam_Fashion_Week) Australia (/wiki/Australian_Fashion_Week) Boston (/wiki/Boston_Fashion_Week) Brisbane (/wiki/Mercedes-Benz_Fashion_Festival_Brisbane) Berlin (/wiki/Berlin_Fashion_Week) Colombo (/wiki/Colombo_Fashion_Week) Copenhagen (/wiki/Copenhagen_Fashion_Week) Detroit (/wiki/Detroit_Fashion_Week) India (/wiki/India_Fashion_Week) Jakarta (/wiki/Jakarta_Fashion_Week) Kuala Lumpur (/wiki/Kuala_Lumpur_Fashion_Week) Lagos (/wiki/Lagos_Fashion_Week) Lahore and Karachi (/wiki/PFDC_Sunsilk_Fashion_Week) Los Angeles (/wiki/Los_Angeles_Fashion_Week) Madrid (/wiki/Madrid_Fashion_Week) Malta (/w/index.php?title=Malta_Fashion_Week&action=edit&redlink=1) Mexico City (/wiki/Fashion_Week_Mexico_City) Miami (/wiki/Mercedes-Benz_Fashion_Week_Miami) New Zealand (/wiki/New_Zealand_Fashion_Week) Ottawa (/wiki/Ottawa_Fashion_Week) Port Harcourt, Nigeria (/wiki/Port_Harcourt_International_Fashion_Week) Rio de Janeiro (/wiki/Rio_Fashion_Week) São Paulo (/wiki/S%C3%A3o_Paulo_Fashion_Week) Sibiu, Romania (/wiki/Feeric_Fashion_Week) Singapore (/wiki/Singapore_Fashion_Week) Shanghai (/wiki/Shanghai_Fashion_Week) Shenzhen (/w/index.php?title=Shenzhen_Fashion_Week&action=edit&redlink=1) Tbilisi (/wiki/Tbilisi_Fashion_Week) Toronto (/wiki/Toronto_Fashion_Week) Vancouver (/wiki/Vancouver_Fashion_Week) Yangon, Myanmar (/wiki/Myanmar_International_Fashion_Week) See also List of fashion events (/wiki/List_of_fashion_events) Fashion portal (/wiki/Portal:Fashion) Authority control databases (/wiki/Help:Authority_control) VIAF (https://viaf.org/viaf/316882521) WikiMiniAtlas 45°30′08″N 73°34′18″W / 45.502181°N 73.571778°W / 45.502181; -73.571778 NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐jd2mb Cached time: 20240721065549 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.502 seconds Real time usage: 1.066 seconds Preprocessor visited node count: 1241/1000000 Post‐expand include size: 53525/2097152 bytes Template argument size: 725/2097152 bytes Highest expansion depth: 10/100 Expensive parser function count: 4/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 46174/5000000 bytes Lua time usage: 0.356/10.000 seconds Lua memory usage: 16953084/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 683.479 1 -total 31.28% 213.798 1 Template:Infobox_street 30.00% 205.043 1 Template:Infobox 23.57% 161.083 1 Template:Authority_control 19.24% 131.531 1 Template:Native_name_checker 18.51% 126.520 1 Template:Reflist 15.17% 103.676 3 Template:Navbox 14.75% 100.829 4 Template:Cite_web 13.07% 89.359 1 Template:Streets_in_Montreal 5.70% 38.936 1 Template:Distinguish Saved in parser cache with key enwiki:pcache:idhash:11903840-0!canonical and timestamp 20240721065549 and revision id 1218661296. Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=McGill_College_Avenue&oldid=1218661296 (https://en.wikipedia.org/w/index.php?title=McGill_College_Avenue&oldid=1218661296) " Categories (/wiki/Help:Category) : Streets in Montreal (/wiki/Category:Streets_in_Montreal) Downtown Montreal (/wiki/Category:Downtown_Montreal) Odonyms referring to a building (/wiki/Category:Odonyms_referring_to_a_building) Hidden categories: CS1 French-language sources (fr) (/wiki/Category:CS1_French-language_sources_(fr)) Pages using gadget WikiMiniAtlas (/wiki/Category:Pages_using_gadget_WikiMiniAtlas) Articles containing French-language text (/wiki/Category:Articles_containing_French-language_text) Articles with VIAF identifiers (/wiki/Category:Articles_with_VIAF_identifiers) Coordinates on Wikidata (/wiki/Category:Coordinates_on_Wikidata) |
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