By Bonnie English
This re-creation of a bestselling textbook is designed for college kids, students, and someone drawn to twentieth century style background. Accessibly written and good illustrated, the e-book outlines the social and cultural heritage of style thematically, and features a wide selection of world case reviews on key designers, kinds, events and occasions. the recent version has been revised and multiplied: there are new sections on eco-fashion, style and the museum, significant adjustments within the type marketplace within the twenty first century (including the influence of latest media and retailing networks), new applied sciences, model w. Read more...
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Additional info for A cultural history of fashion in the 20th and 21st centuries : from catwalk to sidewalk
5 A) Paul Poiret with wife Denise at 1002nd Night’s party, 24 June 1911. Photographer: Henri Manuel/Apic/Getty Images. Poiret’s lifestyle was reminiscent of his interest in the exotic. 5 B) Paul Poiret, Le Minaret production costume, May 1913. Photographer: Apic/Getty Images. Worn by French comedian Cora Laparacerie in her role as Myriem in the play by Jacques Richepin, which opened in Paris. Photo printed in French newspaper Le Theatre, May 1913. The impact and influence of this increased consumerism and visual display of fashion upon early twentieth-century artists such as Pablo Picasso, Eugene Atget and Marcel Duchamp is significant.
More importantly, because bourgeois culture was on display, it allowed for greater divergence of thought regarding what constituted popular culture and how social processes structured lifestyles and determined ‘taste’ in consumer goods. Bourdieu’s Distinction (1984) suggests that taste in cultural goods functions as a marker of class. The shop assistant’s position, for example, allowed young women a status above that of factory workers, and provided them with the means to be well dressed. It thus became far easier for a woman to ‘dress above her station in life’, and social mobility was possible provided one could emulate and sustain the illusion.
Gaining momentum, and young women were trying to emulate the looks and attitudes of the emancipated women from working-class backgrounds depicted in these posters. The role and direction of art and fashion reflected this changing culture, where an evolving interaction between fashion, art and popular culture emerged. THE RISE OF CONSUMERISM With the rise of the middle-class consumer, economic factors implicit in the improved production systems, mass manufacture, incentive advertising and marketing techniques—including visual display and merchandising, and wider distribution markets— were influential in the evolving ‘democratization of fashion’.