NERVOUS SYSTEMS: ΟΙΚΟΛΟΓΙΕΣ ΤΟΥ FASHION SHOW. ΑΠΟ ΤΗ ΜΟΝΤΕΡΝΑ ΣΤΗ ΣΥΓΧΡΟΝΗ ΕΠΟΧΗ.

ΔΥΟ

4ο

2// Drengson, Alan. Ecophilosophy, Ecosophy and the Deep Ecology Movement: An Overview. ECOSPHERIC ETHICS. 1999. Accessed May 16, 2018. http://www.ecospherics.net/pages/DrengEcophil.

html.An earlier version of this article appeared in The Trumpeter: Journal of Ecosophy, Vol 14, No. 3, Summer 1997, pages 110-111, entitled An Ecophilosophy Approach, the Deep Ecology Movement, and Diverse Ecosophies.

3// See A.Drengson and Y. Inoue, 1995, p.8 ibid. An earlier version of this article appeared in The Trumpeter: Journal of Ecosophy, Vol 14, No. 3, Summer 1997, pages 110-111, entitled An Ecophilosophy Approach, the Deep Ecology Movement, and Diverse Ecosophies.

4// Gronow, Antti. Habit Oxford Bibliographies. Last modified: 28 November 2016. Accessed April 14, 2018. http://www.oxfordbibliographies.com/view/document/obo-9780199756384/ obo-9780199756384-0186. xml 5// Ibid

6// Balzac, Honoré de.

2015 7// Spinoza, Baruch. Ethincs [1677] as cited in “#SPINOZA /// EPISODE 5: The Spinozist “Scream”: What can a body do?”. THE FUNAMBULIST MAGAZINE. Accessed April 11, 2018. https://thefunambulist.net/philosophy/ spinoza-episode-5-the-spinozist-scream-what-can-abody-do 8// Ibid 9// Deleuze, Gilles, and Paul Patton. Difference and Repetition. New York: Columbia University Press, 1994. 10// Manning, Erin. “# THE FUNAMBULIST PAPERS 51 /// Dress Becomes Body: Fashioning the Force of Form by Erin Manning.” THE FUNAMBULIST MAGAZINE. July 14, 2015. Accessed May 08, 2018. https://thefunambulist. net/architectural-projects/ the-funambulist-papers51-dress-becomes-bodyfashioning-the-force-ofform-by-erin-manning. 11// Ibid 12// Ibid

ΤΡΙΑ

13// Balzac, Honoré de.

2015, p.117.

14// Ibid.

15// Chambers Twentieth Century Dictionary, new edition 1959.

16// Evans, Caroline. The Mechanical Smile: Modernism and the First Fashion Shows in France and America 1900-1929. New Haven: Yale University Press, 2013. 17// Ibid.

Honoré de Balzac, La Théorie de la démarche

18// Ibid.

19// Steele, Valerie. Paris

Fashion: A Cultural History.

London: Bloomsbury Visual Arts, an Imprint of Bloomsbury Publishing Plc, 2017. 20// Alexandre 1902, p.61 and 72 as cited in Evans, Caroline. The Mechanical Smile: Modernism and the First Fashion Shows in France and America 1900-1929. New Haven: Yale University Press, 2013.

21// Evans, Caroline. The Mechanical Smile: Modernism and the First Fashion Shows in France and America 19001929. New Haven: Yale University Press, 2013.

22// Montozon, ‘Le bois sacré’, Fantasio, 15 June 1914, p. 772.

[6] Paris Monumental et Métropolitain. 1913.

23// Entry for Sunday 18 November 1860, Goncourts, vol. 1, 1956, 835. Edmond de Goncourt and Jules de Goncourt, brothers and both French naturalism writers, collaborative sibling authors, inseparable in life.

24// Balzac 1988, 188 (first published in the Revue de Paris , March-April 1833).

Maison Poiret. Le Figaro-Modes, 1904.

Honoré de Balzac

Charles Baudelaire

Benjamin Walter, επιστημόνων

Etienne-Jules Marey, ο Eadweard Muybridge, ο Frank B. Gilbreth,

ο Marcel Duchamp, ο Robert Delaunay και ο Pablo Picasso

ο Guy Debord. Αν

25// Evans, Caroline. The Mechanical Smile: Modernism and the First Fashion Shows in France and America 1900-1929. New Haven: Yale University Press, 2013, p.13. 26// Park, Julie. The Self and It: Novel Objects in Eighteenth-Century England. Stanford University Press, 2010, p.103. 27// Ibid p. 104.

À une passante

Agnès Rochamora

Charles Baudelaire

28// Evans, Caroline. The Mechanical Smile: Modernism and the First Fashion Shows in France and America 1900-1929. New Haven: Yale University Press, 2013. 29// Ibid

30// Leroy, 1999.

Baudelaire,

31// Rocamora, Agnes. Fashioning the City : Paris, Fashion and the Media I.B.Tauris, 2009, p.126-55. 32// Solnit 2000, 200. Also see Rocamora 2009, 97 and 143; Steele, 1998, 68-73 as cited in Evans, Caroline. The Mechanical Smile: Modernism and the First Fashion Shows in France and America 1900-1929. New Haven: Yale University Press, 2013. 33// Blanche Lochmann cites Blazac’s Autre étude de femme. Blanche Lochmann, ‘L’Art de lever le pied: de la Théorie de la démarche au défilé’, Musée Galliera 2006, 148.

34// Avenel 1902, 79-

Châtelet

.158: E.g., Robert de Bauplan ‘Après la grève des cousettes: dans les coulisses de la grande couture’, L’ Illustration, 19 May 1923, Reprinted in L’ Illustration:Journal Universel 1987, 139.

Villiers 1993, 242.

35// Mistinguett 1954, p.19. 36// Barrière 1889, p. 244. 37// Avenel 1902, p.279-81.

Realm’, November 1900. London. Central Sain Martins College of Arts and Design Library

ΠΕΝΤΕ

38// White, Mesdames, n.e., p.31 and Avenel. 1902, p.71 as cited in Evans, Caroline. The Mechanical Smile: Modernism and the First Fashion Shows in France and America 1900-1929. New Haven: Yale University Press, 2013, p.114.

39// Avenel. 1902, p.83 and 103 ibid.

40// Alexandre. 1902, p.54 ibid.

41// Anonymous photographer. Album of photographs of model gowns from Parisian couture houses, 1897/1898. Collection of Musee Galliera de la Mode de la Ville de Paris, 2004.658.1.

42// Evans, Caroline. The Mechanical Smile: Modernism and the First Fashion Shows in France and America 1900-1929. New Haven: Yale University Press, 2013, p.11-2.

43// Free Lunches for Women Who View Fashions, Chicago Daily Tribune, 3 May

44// Grumbach 2008, p.434.

45// Evans, Caroline. The Mechanical Smile: Modernism and the First Fashion Shows in France and America 1900-1929. New Haven: Yale University Press, 2013, p.32-3. 46// Ibid.

[canapés].43

[Chambre Syndicale de la Couture, des Confectionneurs et des Tailleurs pour Dames (1868)]

Syndicale de la Couture Parisienne],

Illustration by Woodruff, Vogue (America), 15 April 1923. Vogue; Condé Nast.

Doucet, Worth, Félix, Fred, Redfern, Wallès, Laferrière, Francis, Martial et Armard, Beer and Jenny

Redfern,

manne-

Femina to 1901.47 Οι Redfern, Paquin και Beer

47// Marquise de Bal, ‘Une Journée’, 125-8 as cited in ibid.

48// Saunders 1954, 110.

49// Evelyn M. Lang, ‘Great Parisian Dressmakers’, The Ladies’ Realm, February 1902, 620-25 as cited in Evans, Caroline. The Mechanical Smile: Modernism and the First Fashion Shows in France and America 19001929. New Haven: Yale University Press, 2013.

50//

Martial

Doeuillet,

Armand•

Vendôme.52

Vionnet, Louisboulanger

Chanel

51// A Paris Show of Fashions, Washington Post, 19 September 1909.

52// A Seat at the Paris Openings, Vogue America, 15 April 1923, p.39-49 as cited in Evans, Caroline. The Mechanical Smile: Modernism and the First Fashion Shows in France and America 19001929. New Haven: Yale University Press, 2013. 53// Saunders 1954, p.110 and Grumbach 2008, p.17 as cited ibid.

54// Maud, La Mode, La Rampe, 16 November 1916, p.12-3.

55// Roubaud 1928, p.163.

56// La Mode: création Melnotte-Simonin, 1927, ref. no.128150, Archives Françaises du Film, Paris as cited in Evans, Caroline. The Mechanical Smile: Modernism and the First Fashion Shows in France and America 1900-1929. New Haven: Yale University Press, 2013.

57// Histoire de l’industrie 1926, p.126. Επίσης

Vogue France, 1 February 1924, και στο Lucien Lelong, La Renaissance de l’art française et des industries de luxe, June 1924, p.4.

ΕΠΤΑ

58// Lochmann, ‘L’ Art de lever’, 146.

59// Steiner 2010, 4. 60// Braun 1992, 64 as cited in Evans, Caroline. The Mechanical Smile: Modernism and the First Fashion Shows in France and America 19001929. New Haven: Yale University Press, 2013, p.23.

Bois de Boulogne,

Longchamp,

Marey».63

Marcel Duchamp

Nude Descending

Muybridge Gilbreth.

Marcel Duchamp

Sonia Delaunay,

Ulrich Lehmann

Robert Delaunay,

Georges Braque,

Pablo Picasso

Gino Severini.

62// Evans, Caroline. The Mechanical Smile: Modernism and the First Fashion Shows in France and America 1900-1929. New Haven: Yale University Press, 2013, p.24. 63// Ibid.

64// Ibid p. 46

65// Giedeon 1969, 25 και 79.

66// Evans, Caroline. The Mechanical Smile: Modernism and the First Fashion Shows in France and America 1900-1929. New Haven: Yale University Press, 2013, p.47. 67// Lehmann, Ulrich.Tigersprung: Fashion in Modernity, MIT Press, Cambridge, Mass., and London, 2000, p.5-19.

Baudelaire

68// Buci-Glucksmann, Christine. Baroque Reason: The Aesthetics of Modernity. Sage Publications. 1994, p.93.

69// Ibid.

70// Ibid p.94.

71// Ibid.

72// Ibid. 73// Baudelaire Charles. The Painter of Modern Life and other Essays. Translated and edited by Jonathan Mayne Phaidon Press, p.12. 74// Steele, Valerie. Paris Fashion: A Cultural History. London: Bloomsbury Visual Arts, an Imprint of Bloomsbury Publishing Plc. 2017, p. 6.

[62] Le trottoir roulant , 1900 Paris World Fair. photographic print Published in: Neurdein frères and Maurice Baschet. Le panorama, Exposition universelle. Paris:

Ludovic Baschet, 1900.

75// Evans, Caroline. The Mechanical Smile: Modernism and the First Fashion Shows in France and America 19001929. New Haven: Yale University Press, 2013, p.29.

76// Hillel Schwartz, ‘Torque: The New Kinaesthetic of the Twentieth Century’, in Crary and Kwinter 1992, 88-9.

77// Evans, Caroline. The Mechanical Smile: Modernism and the First Fashion Shows in France and America 1900-1929. New Haven: Yale University Press, 2013, p.29.

78// Ibid.

79// John B. Watson, Behaviorism 1924 University of Chicago Press 1966, 49 and 269 quoted in Synott 1993, 28.

80// Evans, Caroline. The Mechanical Smile: Modernism and the First Fashion Shows in France and America 1900-1929. New Haven: Yale University Press, 2013, p.258.

81// Ibid p. 245.

82// J. Brown 2009, p.1,5,7.

Ο Lucien Lelong λέει: Κατά

[67] This is what occurs in our head when we see and say “Auto,” 1943. Dr. Fritz Kahn.

[simultanious designs]

Sonia Delaunay (1925) L & M SERVICES B.V. The Hague 20120308.

83// ‘La Mode qui vient’, subtitled ‘Vogue prévoit pour l’hiver une silhouette mouvante aux lignes onduleuses’, Vogue France, 10, October 1925, p.3. 84// Bonney 1929, p. 16-17.

Patou,

Vogue (America), 15 April, 1923.

PARIS AND THE AMERICAS

ΕΝΝΕΑ

1//

2// Evans, Caroline. The Mechanical Smile: Modernism and the First Fashion Shows in France and America 19001929. New Haven: Yale University Press, 2013.

3// ‘The Dressmakers of France’, Fortune, June 1930, 94.

Didier Grumbach,

Hawley-Smooth

Chambre

‘Cloak and Suit’, Fortune, June 1930, 99. 5// Evans, Caroline. The Mechanical Smile: Modernism and the First Fashion Shows in France and America 19001929. New Haven: Yale University Press, 2013. 6// Hawes, Elizabeth 1938,107-13.

7// Grumbach 2008, 90 as cited in Evans, Caroline. The Mechanical Smile: Modernism and the First Fashion Shows in France and America 1900-1929. New Haven: Yale University Press, 2013. 8// Ibid. p. 89. 9// Ibid.p. 31. 10// Ibid. p. 89 11// Ibid. p.98-9.

ΔΕΚΑ

12// Simon 1931, p. 97. 13// Blanchard, Tamsin. “THE VIEW FROM THE FRONT ROW: a history of the fashion show – photo essay” THE GUARDIAN. February 15, 2018. Accessed May 08, 2018. https://www.theguardian. com/fashion/2018/feb/15/ the-view-from-the-frontrow-a-history-of-the-fashion-show-photo-essay. 14// Evans, Caroline. The Mechanical Smile: Modernism and the First Fashion Shows in France and America 1900-1929. New Haven: Yale University Press, 2013.

Dior

Αντίστοιχα η Gaby Aghion που

δημιούργησε τον Οίκο Chloé, πραγματοποίησε την πρώτη

στο Café de Flore, στη συνοικία Saint Germain στο Παρίσι το 1956. Το Café de Flore αποτελούσε σημείο συνάντησης

καλλιτεχνών και διαλέγοντας αυτό, σε

συνδυασμό με την παρουσία του Tύπου, που κάλυψε την επίδειξη, έδωσε μια

νέα νότα οικειοποιήσιμης χαλαρότητας λόγω της φύσης του χώρου. Η Gaby Aghion

15// Ibid. 16// ‘Paris Yields to None in Fashion World’, New York Times, 2 December 1928. 17// Blanchard, Tamsin. “THE VIEW FROM THE FRONT ROW: a history of the fashion show – photo essay” THE GUARDIAN. February 15, 2018. Accessed May 08, 2018. https://www.theguardian. com/fashion/2018/feb/15/ the-view-from-the-frontrow-a-history-of-the-fashion-show-photo-essay. 18// “The Story of Dior: the new look revolution” DIOR. Accessed May 08, 2018. https://www.dior.com/ couture/en_hk/the-houseof-dior/the-story-of-dior/ the-new-look-revolution. 19// Blanchard, Tamsin. “THE VIEW FROM THE FRONT ROW: a history of the fashion show – photo essay” THE GUARDIAN. February 15, 2018. Accessed May 08, 2018. https://www.theguardian. com/fashion/2018/feb/15/ the-view-from-the-frontrow-a-history-of-the-fashion-show-photo-essay.

20// Ethelbert Robinson, Behind Your Paris Gown, Holiday, March 1953, p.30.

21// Claire Wilcox, The Golden Age of Couture, Paris and London 1947-1957. London V&A Publications, 2007, p.30.

22// Evans, Caroline. The Mechanical Smile: Modernism and the First Fashion Shows in France and America 1900-1929. New Haven: Yale University Press, 2013. 23// Ibid. p.15.

Camera Nazionale della

Chambre Syndicale du Pret-a-Porter des Couturiers et des Createurs de Mode,

British Designer Show

24// Catwalk

25// Guerin, Polly. Creative Fashion Presentations, Fairchild, New York, 1987, p. 230.

26// Blanchard, Tamsin. “THE VIEW FROM THE FRONT ROW: a history of the fashion show – photo essay” THE GUARDIAN. February 15, 2018. Accessed May 08, 2018. https://www.theguardian. com/fashion/2018/feb/15/ the-view-from-the-frontrow-a-history-of-the-fashion-show-photo-essay.

ECLECT DISSECT

GALLIANO

TIGER’S LEAP INTO THE PAST//LABYRINTH

ΔΕΚΑΤΡΙΑ

1// Williams Rosalind H. Dream Worlds: Mass Consuption in the Late Nineteenth-Century France. 1982 as cited in Evans, Caroline. Fashion at the Edge: Spectacle, Modernity and Deathliness. New Haven: Yale University Press, 2012, p.67.

2// Debord, Guy, Society of Spectacle, trans. Donald Nicholson-Smith, Zone Books, London, 1994 [1967]: para.193.

3// Ibid. p.67.

4// Simmel, ‘Metropolis and Mental Life’ as cited in Evans, Caroline. Fashion at the Edge: Spectacle, Modernity and Deathliness. New Haven: Yale University Press, 2012, p.8.

5// Rocamora, Agnes and Smelik Anneke. Thinking Through Fashion: A Guide to key theorists. I.B. Tauris, 2016, p.67.

6// Lehmann, Ulrich.Tigersprung: Fashion in Modernity, MIT Press, Cambridge, Mass., and London, 2000, p.401.

7// Wilson, Elizabeth. Adorned in Dreams: Fashion and Modernity, United Kingdom: Virago Press Ltd. 1985, p.10.

8// Ibid. p. 10, 61-3. 9// Evans, Caroline. Fashion at the Edge: Spectacle, Modernity and Deathliness. New Haven: Yale University Press, 2012, p. 4.

Marquis de Sade,

Biberstein

L’Œuvre du marquis de Sade, Guillaume Apollinaire (Edit.), Bibliothèque des Curieux, Paris, 1912.

10// Angela Carter, The Sadeian Woman: An Exercise in Cultural History, Virago, London. 1979, p. 26. 11// Evans, Caroline. Fashion at the Edge: Spectacle, Modernity and Deathliness. New Haven: Yale University Press, 2012, p. 4.

1997,

show,

Eclect Dissect.

art director Simon Costin

[80] [81] [82] Simon Costin,

Alexander McQueen, Eclect Dissect

Givenchy, f/w 1997-8. Courtesy Simon Costin.

Baudelaire

[a dominating woman, especially one who takes the sadistic role in sadomasochistic sexual activi-

12// Buci-Glucksmann, Christine. Baroque Reason: The Aesthetics of Modernity. Sage Publications. 1994, p.101.

13// Charles Baudelaire, The painter of Modern Life and Other Essays, trans. Jonathan Mayne, Phaidon, London, 2nd ed., 1995, p. 33. 14// Evans, Caroline. Fashion at the Edge: Spectacle, Modernity and Deathliness. New Haven: Yale University Press, 2012, p. 4.

Το

15// Evans, Caroline. Fashion at the Edge: Spectacle, Modernity and Deathliness. New Haven: Yale University Press, 2012, p. 4. 16// Ibid.

17// Sarah Mower, ‘Politics of Vanity’, The fashion, no. 2, spring/summer 2001, p. 162.

18//

19// Adorno, Theodor.W. In Search of Wagner. Verso. 2005, p. 94.

20// Susan Buck-Morss, The Dialectics of seeing: Walter Benjamin and the Arcades Project, MIT Press, Cambridge, Mass., and London, 1991, p.97.

21// Rebecca Arnold, Fashion, Desire and Anxiety: Image and morality in the twentieth century, I.B. Tauris, London and New York,

McQUEEN//LONDON//CULTURES//COUNTRIES//CENTURIES//EXTREME// SKELETONS OF THE PAST//POWER//SPINES HORNS AND FEATHERS//SPECTACLE//TROUBLING VISION// FEMMES FATALES//DIALECTICAL IMAGES//TRAUMA//JESUS//EUROPE// DYSFUNCTIONAL BODIES//MUTABILITY//’90s//REVENGE// ANIMAL//DOMINATRIX//JAPAN//PHANTASMAGORIA//FASHION

ΔΕΚΑΕΞΙ

Derrida

Evans, Caroline. Fashion at the Edge: Spectacle, Modernity and Deathliness. New Haven: Yale University Press, 2012, p. 29.

23// Jacques Derrida, Specters of Marx: The State of Debt, the Work of Mourning, and the New International, trans. Peggy Kamuf, Routledge, New York and London, 1994, p. 37, 45, 104.

24// Martin Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought, University of California Press, Berkeley and Los Angeles, 1993, p.425.

25// Debord, Guy, Society of Spectacle, trans. Donald Nicholson-Smith, Zone Books, London, 1994 [1967]: para. 2.

26// Hal Foster, The Return of the Real: The Avant Garde at the End of the Century, MIT Press, Cambridge, Mass., and London, 1996, p.83. 27// Buck-Morss, Susan. The Dilectics of Seeing: Walter Benjamin and the Arcades Project, MIT Press, Cambridge, Mass., and London. 1991, p.250 as cited in Evans, Caroline. Fashion at the Edge: Spectacle, Modernity and Deathliness. New Haven: Yale University Press, 2012, p. 33. 28// Ibid.

GALLIANO//PARIS//CULTURES//COUNTRIES//CENTURIES//EXCESSIVE// VAMPS// SIRENS//SPECTACLE//AMERICAS//CHRISTIAN DIOR//EXTRAVAGANZA// FEMMES FATALES//DIALECTICAL IMAGES//ASIA//EPHEMERAL CEREMONIES//MUTABILITY// CAPITALISM//belle epoque//’90s//COMMODITY//objet de luxe//MODERNITY// NOSTALGIA//JAPAN//DEPARTMENT STORES//ENTERTAINMENT//PHANTASMAGORIA// LUXURY//AFRICA//IDLENESS//FASHION

ΔΕΚΑΕΠΤΑ

“Wavering between the profit and the loss

In this brief transit where the dreams cross

The dream crossed twilight between birth and dying”.29

29// T. S. Eliot, ‘Ash Wednesday’, Selected Poems, Faber and Faber, London, 1954: 92. 30// Evans, Caroline. Fashion at the Edge: Spectacle, Modernity and Deathliness. New Haven: Yale University Press, 2012, p. 9.

31// Benjamin, Walter. The Arcades Project, trans. Howard Eiland and Kevin McLaughlin. The Belknap Press of Harvard Univeristy, 2002, p. 4.

32// Gilles Lipovetsky, The Empire of Fashion: Dressing Modern Democracy, trans. Catherine Porter, Princeton University Press, 1994 [1987], p. 149.

33// Anthony Giddens, Modernity and Self -Identity: Self and Society in the Late Modern Age, Polity Press, Cambridge, 1991 as cited in Evans, Caroline. Fashion at the Edge: Spectacle, Modernity and Deathliness. New Haven: Yale University Press, 2012, p. 6.

Ο Gilles Lipovetsky,

ΔΕΚΑΟΚΤΩ

“My intention is not to make clothes.” 1

1// Socha, Miles. Rei Kawakubo Exclusive Q&A. 19 November 2012. Accessed May 02, 2018. http://wwd. com/fashion-news/fashion-features/rei-kawakuboqa-6486260/ 2// Manning, Erin. “# THE FUNAMBULIST PAPERS 51 /// Dress Becomes Body: Fashioning the Force of Form by Erin Manning.” THE FUNAMBULIST MAGAZINE. July 14, 2015. Accessed May 08, 2018. https://thefunambulist. net/architectural-projects/ the-funambulist-papers51-dress-becomes-bodyfashioning-the-force-ofform-by-erin-manning.

3// Ibid. 4// Ibid. 5// Ibid. 6// Ibid.

Ο Frank Kermode,

8// Cochrane, Lauren. ‘Why it’s fashionable to quote Walter Benjamin’. 5 February 2017. Accessed May 14, 2018. https://www. theguardian.com/fashion/ shortcuts/2017/feb/05/ why-its-fashionable-toquote-walter-benjamin.

9// ‘Milan Fashion Week: Models carry fake heads on Gucci catwalk’. 22 February 2018. Accessed May 14, 2018. http://www. bbc.com/news/entertainment-arts-43154907. 10// Pithers, Ellie. ‘The Story Behind Gucci’s Severed Heads’. 22 February 2018. Accessed May 14, 2018. http://www.vogue. co.uk/gallery/gucci-autumn-2018-show-special-effects. 11// ‘Milan Fashion Week: Models carry fake heads on Gucci catwalk’. 22 February 2018. Accessed May 14, 2018. http://www. bbc.com/news/entertainment-arts-43154907.

Proenza Schouler

Wang “it is widely considered to be a transformative solution for the global industry, breaking out of the conventional fashion calendar.” 13

12// Singer, Maya. ‘SPRING 2018 READY-TO-WEAR Rag & Bone’. 7 September 2017. Accessed May 14, 2018. https://www.vogue. com/fashion-shows/spring2018-ready-to-wear/ragbone.

13// Freadman, Vanessa.

‘Alexander Wang Is Leaving New York Fashion Week’ 17 January 2018. Accessed March 5, 2018.https://www. nytimes.com/2018/01/17/ fashion/alexander-wang-isleaving-new-york-fashionweek.html. 14// Ibid.

ΔΕΚΑΕΝΝΕΑ

Comme

Garçons

15// Manning, Erin. “# THE FUNAMBULIST PAPERS 51 /// Dress Becomes Body: Fashioning the Force of Form by Erin Manning.” THE FUNAMBULIST MAGAZINE. July 14, 2015. Accessed May 08, 2018. https://thefunambulist. net/architectural-projects/ the-funambulist-papers51-dress-becomes-bodyfashioning-the-force-ofform-by-erin-manning.2// lbid 16// “Speak up: Designers must be storytellers”. Frame 99, July/August, 2014. 17// Newhouse, Ronnie Cooke. ‘REI KAWAKUBO’. 24 November 2008. Accessed April 17, 2018. https://www. interviewmagazine.com/ fashion/rei-kawakubo. 18// Thurman, Judith. ‘The Misfit’. 4 July 2005. Accessed April 20, 2018. https:// www.newyorker.com/magazine/2005/07/04/the-misfit-3

19// http://storeguide. highsnobiety.com/warsaw-comme-des-garcons-guerilla-store/ 20// Fortini, Amanda. ‘Anti-Concept Concept Store, The’. 12 December 2004. Accessed 5 May, 2018. https://www.nytimes. com/2004/12/12/magazine/anticoncept-concept-store-the.html

REI KAWAKUBO COMME DES GARÇONS

Opens Dover Street Market on Dover Street in London. In addition to selling Comme des Garçons lines, the market merchandises work by emerging and established designers chosen by Kawakubo. (It relocates to London’s Haymarket in 2016.)

Launches the first of what will be approximately forty Comme des Garçons Guerrilla Stores, a harbinger of the pop-up shop. The stores, each of which remains open for exactly one year, are unveiled across the globe through 2008.

“I believe that creation has a good influence on people’s lives and on society. Without creativity social life would be very boring. Trying to be creative in the purest sense is my goal.” Arude, no. 13 (1999)

“I want to create a market where people from all walks of life can encounter each other in an atmosphere of beautiful chaos. The coming together of kindred souls.” Dazed & Confused, September 2004.

“I have always loved the energy and anarchy of good markets.” International Herald Tribune, September 7, 2004.

“We are one of the few design houses that can get away with doing something like [this]. Brands usually need a great deal of assembly and displays in order to sell. We just want to show the world that there are other ways, other kinds of stores, and new strategies to achieve retail goals. People think that you have to `look good’ and have a lot of money, but we think about alternate ways of doing things and so we came up with the Guerrilla Store. Without investment or crazy expenses. We’ve broken the rules of fashion retail in order to show that it’s possible to open stores without money.” El Pais S Moda, October 1, 2006.

“In five years we have opened 37 different Guerrilla shops with nonfashion partners in unheard-of places or in parts of cities hitherto untrammeled. By partnering with nonfashion people, and requiring that we open only for one year, and limiting the amount of money spent on each shop, we brought a breath of fresh air to retail. And it generated enormous sales! We were selling only the stock we already had locked up in the warehouse anyway.” Wall Street Journal Magazine, September 2011.

“My concern is that apart from myself there aren’t that many designers in general who are innovative. For a while there were other designers who had a similar energy, but even they have gone in a commercial direction. I feel like I’m standing alone.” New York Times, November 8, 1994.

[126] Nervous Systems, Part 2: The First Guerrilla Show. Featured Designer: MKG.

Designer + Styling: MKG

Photography: Desirée Thomas

Make-up: Katherine Torrez Model: Mirian Njoh

For Vogue Italia.

[1] http://arts-graphiques.louvre.fr

[2] Προσωπικό κολάζ

[3] Προσωπικό κολάζ

[4] www.lillustration.com

[5] Pinterest

[6] Pinterest

[7] © Fashion Institute of Technology/ SUNY, FIT Library Department of Special Collections and FIT Archives.

[8] ©Fashion Institute of Technology/ SUNY, FIT Library Department of Special Collections and FIT Archives.

[9] © Fashion Institute of Technology/ SUNY, FIT Library Department of Special Collections and FIT Archives.

[10] © Fashion Institute of Technology/ SUNY, FIT Library Department of Special Collections and FIT Archives.

[11] http://www.laboiteverte.fr

[12] Pinterest

[13] https://www.vintag.es

[14] Pinterest

[15] © Fashion Institute of Technology/ SUNY, FIT Library Department of Special Collections and FIT Archives.

[16] Pinterest

[17] Central Sain Martins College of Arts and Design Library, London.

[18] Central Sain Martins College of Arts and Design Library, London.

[19] Musée Galliera de la Mode de la Ville de Paris. Photograph Richard Hubert Smith.

[20] Musée Galliera de la Mode de la Ville de Paris. Photograph Richard Hubert Smith.

[21] www.lillustration.com

[22] © Fashion Institute of Technology/ SUNY, FIT Library Department of Special Collections and FIT Archives.

[23] Vogue (America), 15 April, 1923. Vogue © Condé Nast.

[24] Femina, 15 December 1911.

[25] ‘Le Vrai et le fraud chic’, 1914.

[26] www.lillustration.com

[27] Vogue (America), 15 April 1923. Vogue; Condé Nast

[28] ‘La mode: rodes et manteaux crées par Lucile’, 1914. Ref 1403GJ00025. Gaumont

[29] Vogue( America), 15 April 1923. Vogue; Condé Nast.

[30] © Fashion Institute of Technology/ SUNY, FIT Library Department of Special Collections and FIT Archives.

[31] Musée Galliera de la Mode de la Ville de Paris. Photograph Richard Hubert Smith.

[32] Harpers Bazar, October 1924.

[33] © Fashion Institute of Technology/ SUNY, FIT Library Department of Special Collections and FIT Archives.

[34] © Fashion Institute of Technology/ SUNY, FIT Library Department of Special Collections and FIT Archives.

[35] http://www.avictorian.com/worth_fashion.html

[36] http://www.avictorian.com/worth_fashion.html

[37] http://www.avictorian.com/worth_fashion.html

[38] Musée Galliera de la Mode de la Ville de Paris. Photograph Richard Humbert Smith.

[39] Fonds d’Archives Luis Sue, Centre d’Archives d’Architecture du XXieme Siècle, DAF/ Cite de l’Architecture et du Patrimoine.

[40] https://thelightofnow.com

[41] http://www.avictorian.com/worth_fashion.html

[42] © Boris Lipnitzky / Roger Viollet.

[43] Musée Galliera de la Mode de Paris.

[44] Musée Galliera de la Mode de Paris.

[45] http://www.theparisblog.com/patou-gets-his-due/

[46] http://www.edwardianpromenade.com

[47] http://chanel-news.chanel.com

[48] https://theartstack.com

[49] From the cover of Femina, 1 June 1914. Musée Galliera de la Mode de la Ville de Paris. Photograph Richard Humbert Smith.

[50] http://www.graphicine.com

[51] http://www.graphicine.com

[52] http://betterphotography.in

[53] https://www.artsy.net

[54] http://www.blouinartinfo.com

[55] Corcoran Gallery of Art, Washington, D.C. Museum Purchase, 1887, 87.7.45.

[56] https://archive-it.org/organizations/660

[57] Philadelphia Museum of Art, Philadelphia.

[58] Musée National d’Art Moderne, Centre Georges Pompidou, Paris.

[59] Baltimore Museum of Art.

[60] Pinterest

[61] https://dressingvintage.com

[62] Brown University Library under the digital ID 1303844357375001

[63] https://parismabelle.com

[64] http://www.expositionhotel.com

[65] https://www.jaimemonpatrimoine.fr

[66] http://www.topdesignmag.com

[67] https://www.codex99.com/anatomy/59.html

[68] L & M SERVICES B.V. The Hague 20120308.

[79] Musée Galliera de la Mode de la Ville de Paris. Photograph Richard Hubert Smith.

[70] Howard Greenberg Gallery.

[71] Vogue (America), 15 April, 1923. Vogue © Conde Nast.

[72] © Fashion Institute of Technology/ SUNY, FIT Library Department of Special Collections and FIT Archives.

[73] Προσωπικό κολάζ.

[74] https://www.art.co.uk

[75] https://www.art.co.uk

[76] https://www.art.co.uk

[77] http://www.britishmuseum.org

[78] https://www.vogue.com/fashion-shows

[79] https://www.vogue.com/fashion-shows

[80] © Simon Costin.

[81] © Simon Costin.

[82] © Simon Costin.

[83] https://www.vogue.com/fashion-shows

[84] © Simon Costin.

[85] https://www.vogue.com/fashion-shows

[86] https://www.vogue.com/fashion-shows

[87] https://www.vogue.com/fashion-shows

[88] https://www.vogue.com/fashion-shows

[89] http://awright3.workflow.arts.ac.uk

[90] https://www.vogue.com/fashion-shows

[91] http://www.vogue.co.uk

[92] http://www.vogue.co.uk

[93] http://www.vogue.co.uk

[94] http://www.vogue.co.uk

[95] http://www.vogue.co.uk

[96] Pinterest

[97] https://bon.se

[98] Pinterest

[99] http://www.artnet.com

[100] Pinterest

[101] Pinterest

[102] Πρoσωπικό κολάζ.

[103] https://www.vogue.com/fashion-shows

[104] https://www.vogue.com/fashion-shows

[105] Φωτογραφία του Niall McInerney. Pinterest

[106] https://www.vogue.com/fashion-shows

[107] Pinterest

[108] https://www.vogue.com/fashion-shows

[109] Πρoσωπικό κολάζ.

[110] http://page-spread.com/werk-11-guerrillazine-02/

[111] Screenshot https://www.highsnobiety.com

[112] Προσωπικό κολάζ. http://www.bbc.com

[113] https://www.nytimes.com/2018/01/17/fashion/alexander-wang-is-leaving-new-york-fashion-week.html

[114] https://www.vogue.com/article/alexander-wang-leaving-new-york-fashion-week

[115] Προσωπικό κολάζ. https://www.vogue.com/fashion-shows και https://www.proudonline.co.uk

[116] https://www.vogue.com/fashion-shows

[117] http://page-spread.com/werk-11-guerrillazine-02/

[118] http://page-spread.com/werk-11-guerrillazine-02/

[119] http://cargocollective.com/connieharvey/Guerrilla-Store-Basel-Project

[120] http://cargocollective.com/connieharvey/Guerrilla-Store-Basel-Project

[121] http://www.wearegroup.se/work/comme-des-garcons-guerrilla-store

[122] https://hypebeast.com

[123] https://hypebeast.com

[124] Pinterest

[125] Instagram

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