By Bonnie English
This new version of a bestselling textbook is designed for college students, students, and somebody drawn to twentieth century type background. Accessibly written and good illustrated, the booklet outlines the social and cultural heritage of favor thematically, and encompasses a wide selection of world case stories on key designers, kinds, routine and occasions. the hot version has been revised and increased: there are new sections on eco-fashion, style and the museum, significant adjustments within the style marketplace within the twenty first century (including the impression of latest media and retailing networks), new applied sciences, style 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
1983: 6) Allen’s summary is central to the argument that there were three main marketing strategies developed to promote consumption: first, museum methods of presentation and display of goods; second, the use of the ‘seduction theory’ as a sophisticated 14 A CULTURAL HISTORY OF FASHION IN THE 20TH AND 21ST CENTURIES psychological marketing approach; and third, the escalation of mass media advertising. These mass-marketing techniques stimulated ‘conspicuous consumption’, increased product production and generated the emergence of the autonomous consumer ‘object’.
1900. Collection: Powerhouse Museum, Sydney. Photographer: Andrew Frolows. This evening gown is made of white satin, selfstriped in cut velvet fabric, embossed with large floral motifs; the sleeves of lace are caught with bands of rhinestones; the bodice trimmed with tulle and lace and an artificial carnation. Not only did Worth design clothes for many members of European royalty, including the Princess de Metternich, Princess Maria of Austria and the wife of Franz Joseph I, the Empress Elizabeth of Austria; he was also adept in marketing his work to a much broader clientele.
Thornstein Veblen, a notable late Victorian writer, underlines this notion of the ‘pecuniary canons of taste’ as the dominant male economic factor impacting upon the evolution of dress in the late 1880s. In The Theory of the Leisure Class, originally published in 1899, he maintains—making reference to Victorian female trappings—that ‘the hindrances of women’s dress . is evidence of her economic dependence on a man, and is reflective of male pecuniary strength in society’ (Veblen 1965). Veblen’s argument suggests that individual or family status was the motivating factor for the uniformity of dress within Victorian society.
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