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Fashion trends are a reflection of the political, ..

Fashion as a Mirror of Opulence and a Shadow of Death: A Cultural and Social Investigation of the Reappearance of 1980s New York Fashion in the early 21st Century

Fashionably Fatshionable: A Consideration of the Dress Practices of Self-Proclaimed Fat Women

This thesis elucidates how the Sex and the City series and films can be employed to create deeper understandings of fashion as text, identity, practice, object, and concept. In it, fashion and urbanity are privileged over the discourses of sex that abound in contemporary academia. Carrie Bradshaw’s embodied identity and choice of fashions are framed as a bricolage of vintage and luxury, (k)notted with connotations of elite New York society but re-interpreted according to Carrie’s sensibilities. Big, Aidan, and Petrovsky are not understood simply as romantic interests but allegories of fashion cities to which Carrie commits. Her acceptance of the fashion and jewelry then becomes a representation of not only her disposition towards the men and urbanities they personify, but her place in New York (or the larger world) that she desires to have with them. The more intimate or private representations of Carrie are analyzed: namely, her closet. Her closet is a fount of order and chaos, memories, secrets, old outfits and new shoes, ponderings, and old items re-found; the closet is also a passageway to the outside world. Arguably, a room of one’s own in the third wave feminist age is a woman’s closet. Lastly, the franchise is liminal; it collapses the real and the fictional with respect to New York as a fashion city, singlehood, and the growing urbanization of societies that makes understanding fashion and its relationship to the city ever prescient.

Thesis On Fashion Trends - Wedding Organizer, …

Sex and the Fashion City: Carrie Bradshaw and the Discourses of Fashion in Sex & the City

“This is Luxury Rap”: It’s Swagger We Can Finally Afford: A Perspective on Luxury Fashion in Hip Hop through Jay-Z and Kanye West’s Watch the Throne LP

A native of Boston, Massachusetts, Rachel François received her BA in Sociology from Bryn Mawr College. Rachel is interested in fashion as a practice of personal and collective meaning-making in realms of popular culture. Her MA thesis allows her to explore the intersections of fashion and music through the interdisciplinary lenses of Black Studies, Cultural Studies and Fashion Studies.

The crossover of fashion trends.

Fashion or Porn? The Hyper-Sexualization of Western Culture and the Commodification of Sex

Corrinne Crewe, a UK national, entered fashion as a model for top designers around the world and competed successfully in contests such as Supermodel Zimbabwe and Miss Universe-Zimbabwe. She holds a BA in Social Studies with Sociology and Philosophy from the Open University in the UK. Corrinne is an active person with numerous interests such as tennis, cycling, street dance, human anatomy and nutrition, reflexology and massage.

The Dichotomy of Western and non-Western Fashion: The Impact of the New Wave of Fashion Designers from Africa and of African Descent on the Global Fashion Market

“So Fabulous You Wouldn’t Dare Lay A Hand on Her”: McQueen’s Fashioning of the Tough Women
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Culture and Fashion Dissertation Topics for FREE

African fashion designers have become more globally apparent since the early 1960s when some of the greats of African fashion became known such as Alphadi (born Sidahmed Seidnaly), Oumou Sy and Lamine Kouyate of XulyBët. Their work has been instrumental, and paved the way for a new wave of emerging African designers (from Africa and its Diaspora) entering global fashion markets in the 21st century. This thesis focuses on high fashion designers from Africa and its diaspora, revealing the barriers they face when entering global fashion markets. In doing so, this study interrogates the cultural assumptions and hegemonic beliefs surrounding African fashion. For instance, historically some scholars have claimed fashion is an indicator of modernity, exclusive to the West. In contrast, a number of scholars, designers, and fashion enthusiasts are challenging these assumptions and new international platforms promoting the work of African designers are developing. African fashion is certainly not static, despite aspects of cultural preservation seen in their garments through the use of the most common cultural identifier, African fabric. The thesis explores the lasting effects of colonization, and the work of African designers whose advance in global fashion is still often impeded by the wrong perception of their use of African fabrics; through the association of national identity with their designs; by the lack of exposure in publicizing and marketing of their apparel; and by the shortage of distribution channels to sell their clothes. Focusing on the work of a group of four emerging high fashion designers, ARISE magazine and its respective fashion shows, the thesis demonstrates the active role that is taken to expose African talent.

25 Winning Topics On Fashion For A Brilliant Dissertation

E.P. Cutler is an internationally published fashion journalist with over seven years of experience writing for print and online publications. She worked as the Archival Researcher for the full-length feature documentary film, Diana Vreeland: The Eye Has To Travel, which premiered at the Venice Film Festival.

Crossover trends in the fashion industry; ..

New York City in the 1980s, a city spiraling into social and economic decay and decline, became transformed into a powerful place for the generation of high and popular culture, including fashion. The Costume Institute within the Metropolitan Museum of Art in the 1980s appeared to have encouraged bourgeois values within a society with seemingly mirrored opposing realities. Innovative ideas in the arts, and most notably within the fashion industry, were reflected in the clothes worn by celebrities and icons like those associated with the No Wave movement. The styles of members of the late 1970s post punk New York band Teenage Jesus and the Jerks embraced an aesthetic of fashion which reflected the rawness and vulgarity of the period. Fashion icons such as Rihanna, in the 21st century, appear to reflect the similar landscape of the period, through a style, which mirrors the choices of those icons in the downtown New York scene in the late 1970s – 1980s.
The New York City nightlife contributed to the burgeoning of a raw artform within art, music and, most importantly, fashion. A similar sentiment is seen in the 21st century, evident through a recession, and a metropolis living on the edge through fashion. Does the individual refer to former times which exemplify a similar social landscape to pattern methods of dress practices? How does the New Yorker decipher the binaries of beauty and ugliness through fashion? The chaos of a metropolis coupled with contradictory inner moral values of the spirit seem to justify the reappearance of 1980s New York fashion at the beginning of the 21st century. This thesis will examine the phenomenology of fashion in New York during the 1980s, and investigate and account for noticeable revivals of the styles of that period, since the start of the 21st century.

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