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The article, "Migration and Fashion: Lithuanian Emigrant Women and Their Daughters in France, 1940s-1970s," is part of a larger research project based on the art dissertation titled "Secrets of the (Un)Collected Collection: Reflection, Interpretation, and Contexts of Daily Life in the Clothing of Lithuanian Women from the 1940s to the 1970s." It serves as a comparative study alongside narratives of Lithuanian women's clothing from the same period described in the thesis. The article offers insights into the lives and everyday clothing of six Lithuanian women who resided in France during the mid-20th century: Ugnė Karvelis (1935-2002), Živilė Bačkis (1938-2022), Elena Jankauskienė (1887-1979), Angela Masiulienė (1912-1974), Elena Turauskienė (1906-1986), and Caroline Nendrė Paliulis (born 1949). Its aim is to explore the evolution and cultural significance of the clothing of Lithuanian women who lived in France in from the 1940s to 1970s in the context of shifting political, economic, and cultural landscapes, to present the biographies of the above-mentioned women, as well as to compare the cultural situation of clothing in Lithuania and Paris in the given period. Drawing upon social culture theory, which posits that clothing reflects historical realities and social contexts, moral convictions and aesthetic tastes, the research compares the experiences and attire of six women from different generations with those of Lithuanian women residing in their homeland during the same period, as well as with the broader culture of clothing. The study is rooted in oral history and extends beyond the 1940s-1970s timeframe. The article is structured chronologically, with each section dedicated to one of the featured individuals, starting with the eldest, Elena Jankauskienė, and concluding with the youngest, Caroline Nendrė Paliulis. [ABSTRACT FROM AUTHOR]

This article looks at moralistic reactions to the fashion of décolletage during the seventeenth century in France. No previous research has focused on this specific movement, the scope of which is larger than has previously been acknowledged. A series of publications and sermons took aim at plunging necklines, particularly in church settings. Far from being isolated and discrete episodes, the wave of sermons and works condemning the fashion may be contextualised as part of a concerted campaign initially orchestrated by the secretive Compagnie du Saint-Sacrement. The anti-décolletage rhetoric coincides with the increasing participation and presence of women in culture and society and may be interpreted as an attempt to regulate female agency. The article concludes that this body of clerical works established a blueprint of victim-blaming that has proved to be enduring. Moreover, it gave such sentiments the stamp of religious respectability. [ABSTRACT FROM AUTHOR]

Copyright of Jurnal Hubungan Internasional is the property of Universitas Airlangga and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Marchesa Luisa Casati has become a perennial muse of fashion designers in recent decades, from haute couture to High Street brands. Collections inspired by the Marchesa link to her background and the history of the spaces that she inhabited. Casati was born in Italy but lived and traveled between France, Italy and Britain, among other countries, where the cachet of her name has been combined with that of the fashion houses citing her as an inspiration. Despite her enduring reputation as an avant-garde style icon and a singular dresser who was just as likely to wear elaborate costumes as nothing at all, her engagement with fashion was not always as visibly eccentric as her posthumous impact suggests. Nor was it strictly within the binary of fashion and "anti-fashion". Casati was at once a "disruptive" body and a conventionally stylish one. Popular memory has focused on the more "spectacular" and stylized elements of her esthetic. Archival evidence and artistic representation demonstrate how Casati constructed a wardrobe that melded the conventional and shocking, and how fashion played a role in the emergence of her chimerical public persona. [ABSTRACT FROM AUTHOR]

The construction of the Eiffel Tower for the 1889 Universal Exposition sparked "Eiffelomania," a craze for objects imprinted with the likeness of the tower. This mania reverberated in the fashion world, with journals touting the latest fabrics, colors, and styles named "Eiffel." But the tower's association with fashion went beyond the materiality of clothing. Careful examination of news reports and fashion chronicles from the fin de siècle period reveals that the tower was frequently cast in sartorial terms. In describing the tower's manner of "dressing," its "clothing" and "outfits," these discourses brought to the fore the shared theoretical bonds between fashion and architecture. This article traces the reception of the Eiffel Tower in fin de siècle Paris and argues that the sartorial imagery associated with the tower conceptualizes architecture as a form of fashion. [ABSTRACT FROM AUTHOR]

A debate poem (partimen PC 16,17) from the early thirteenth century richly demonstrates attitudes toward medieval French fashion, debating who was better, the "French" of France and England for their sumptuous apparel and generous feasts or the "Catalan" Occitan speakers for whom acquisition meant jovial pillage. Fashion appears as a preoccupation of the north, in contrast with southern poverty. Examined in context with political sirventes poems celebrating plunder, the Chanson de la croisade albigeoise (ca. 1210- 12), which expresses pathos through clothing tropes, and the hyperbolic fair in Flamenca (ca. 1223), this study places these representations in the context of the military culture of Languedoc and Provence and its developing markets. This troubadour mockery of pretentious French display also expresses implicit envy and criticizes the damage the pillage ideal imposed on the fashion economy of the Midi. [ABSTRACT FROM AUTHOR]

Fashion design is created in systems of collaborative relationships comparable to art worlds but fashion systems differ from art worlds in the relative emphasis on economic considerations and in the utility of what is produced. A brief history of the French fashion systems underlying haute couture and luxury ready-to-wear fashion reveals that both systems exhibited a tendency toward partial artification, as seen in the creation of designs with avant-garde connotations, although designers were primarily concerned with economic rewards. This tendency was reversed toward the end of the 20th century as both types of designers ceded control over their firms to luxury fashion conglomerates. The importance of fashion collectibles as a form of cultural heritage increased with the emergence of fashion museums but auction prices of fashion collectibles are significantly lower than in the fine arts. Higher auction prices for fashion collectibles occur in cases of celebrity validation or when the fashion collectible has some connection with fine art. [ABSTRACT FROM AUTHOR]

This article explores fashion collecting and dress exhibitions in nineteenth-century France. The first three exhibitions of historic dress in France, which occurred in 1874, 1892, and 1900, raised a host of questions for French dress historians, collectors, and curators: they debated how historical dress should be displayed, what kind of garments should be collected, and what role fashion had in the narrative of French history. This article explores the “historical turn” in dress history, which formalized the practice of using historical garments and accessories as sources for the writing and display of history. It also examines how the shift from industrial to decorative arts spurred an interest in fashion collecting. Finally, it argues that the spectacularization of fashion display between 1874 and 1900 had an impact on the garments themselves, as collectors and curators began to alter garments in order to display them within imaginative settings. Rather than condemning these restorations, this article proposes that we view them as forms of historical imagination. [ABSTRACT FROM AUTHOR]

Until recently, the protection of fashion creativity and innovation has been substantially different on both sides of the Atlantic. This has resulted in difficulties for fashion innovators and for makers of authorized copies when trying to protect their investment in design. During the first half of the twentieth century, Paris remained the centre for creativity in women's fashion design, while New York's garment industry capitalized on copying French design. The Milton case occupies a central place in the battle waged by Paris fashion industrialists against so-called American piracy. This article examines a case that took place between 1955 and 1962. A group of French couturiers filed a lawsuit in New York against F. L. Milton, an American entrepreneur specializing in making and selling sketches of Paris fashions. Paris couturiers considered this type of venture unfair, although the status of his work was ambiguous in the US markets. The case shows the challenges in an industry that occupied a complex position between high and low authorship. This contribution builds upon the case law of the Milton affair, the business records of plaintiffs and defendants, and the archives of professional associations on both sides of the Atlantic. [ABSTRACT FROM AUTHOR]

Elsa Schiaparelli's avant-garde designs and her collaborative efforts with surrealist artists are the subject of most analyses of her work, which focus on themes of glamour, gender and the construction of a modern feminine beauty. Yet a number of lesser-known creations from the 1920s and 1930s, equally experimental in nature, reveal other progressive themes in the Italian-born designer's oeuvre. References to the city in a number of her pieces, for example, provide a commentary on the important relationship between fashion, women and their urban environments. This article examines designs like the skyscraper silhouette, plastic accessories and new synthetic fabrics, echoing contemporary building materials, alongside the changing landscape of interwar Paris. Comparing the imagined city suggested in Schiaparelli's sartorial creations with the real metropolis where these garments were worn, this study reveals fashion's potential to express women's desires for an improved urban reality. [ABSTRACT FROM AUTHOR]

Copyright of Economic History Research / Investigaciones de Historia Económica is the property of Asociacion Espanola de Historia Economica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Historians have debated the significance of a group of late-seventeenth-century French engravings depicting fashionably dressed men and women. At question is the classification of these engravings as fashion prints, images which depict as well as disseminate current fashion information. An analysis of these French prints, which date from the mid-1670s to about 1715, reveals that although often imitative, details of dress and coiffure were continually altered in order to reflect new fashion trends. The print artists responded to current events by changing the captions of their prints, but the subject matter remained fundamentally a presentation of French fashion. Dress information was disseminated by the sheer volume of published French prints, as well as by additional foreign-made copies. The visualization of fashion presented in these prints makes clear their essential role in the fashion print genre, while their short-lived but robust production signaled an emerging hegemony of French fashion in Europe. [ABSTRACT FROM AUTHOR]

The article presents a study analyzing consumers attribute towards ethical fashion. Topics discussed include tracking survey for consumer progress by television networks National Geographic in several countries comprising the U.S., Canada and France, ethical clothing as clothing that takes into consideration the impact of production and trade on the environment and conclusion that Canadians showed positive response towards ethical fashion positive and fashion with French showing non-interest.

The article reviews the exhibitions "Paris Haute Couture," on view at the Musée de la Mode de la Ville de Paris, the Salle Saint-Jean at the Hôtel de Ville de Paris, France, from March 2 to July 6, 2013, and "Roman d'une garde-robe: le chic d'une Parisienne de la Belle Époque aux Années 30," on view at the Palais Galliera & Musée Carnavalet in Paris, France, from October 17, 2013 to March 16, 2014.

An essay is presented which discusses the role that French mass produced fashion plates played in constructing feminine social spaces in France during the 19th century. The impact that fashion plates had on French women's concepts of modernity is discussed. An overview of the depiction of women's clothing and fashion in fashion plates is provided.

The article discusses the consumption of French fashion styles in Ireland in the 18th century, with a focus on the availability of goods for consumers in Dublin, Ireland. Topics include the fashion market in Paris, France; the design of French fashion; and silk manufacturing in Ireland and France. The negative depiction of French fashion in the Irish media, fashion marketing, and consumer goods from Great Britain are also discussed.

Copyright of Industria Textila is the property of Institutul National de Cercetare-Dezvoltare pentru Textile si Pielarie and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Louis XIV used his body as a political territory to strengthen the power of the State. On the contrary, Marie Antoinette used her body as a subjective territory to recuperate her autonomy. Through fashion, Marie Antoinette created a narrative program that expressed both her wish for recognition and her need for independence. This article reconstructs, from the perspective of the Semiotics of passion, Marie Antoinette's passionate journey as it is narrated by Sofia Coppola, showing how fashion allowed her to challenge the French court and expressed her subjectivity. By using the fashion system as a defensive strategy of legitimization, Marie Antoinette contributed to undermine the political structures that supported the aristocratic order. Simultaneously, she strengthened her individuality and confronted those who denied her recognition. From this perspective, Marie Antoinette appears as a contemporary character, as a subject other, a teenager, a foreigner, a woman who, in an inhospitable space, seeks beauty to construct a public image that expresses her identity. [ABSTRACT FROM AUTHOR]

This paper describes the strategies of the French fashion business to authenticate its designs and brands under the challenge of mass-produced ready-to-wear clothing by US manufacturers. It focuses on the 1950s as a pivotal moment in fashion history, as the older model of elite fashion ‘trickling down’ to the lower strata of garment production made way for a multiplicity of trendsetters and a democratisation of fashion. Starting from a situation in which New York-based manufacturers produced low-price copies of Parisian designs, the paper analyses the various strategies of French fashion producers to get control over the exploitation of their designs. As attempts to secure international copyright for fashion designs failed, Parisian designers brought out tie-in products and boutique lines and managed to shift the authenticity of their work from the design to the brand. [ABSTRACT FROM PUBLISHER]

The article investigates French women's dress during the reign of King Louis XVI of France, particularly focusing on changing fashion trends in the 1770s due to an increasing English influence on fashion. It addresses the popularization of simple garments intended to be more comfortable for the wearer in informal settings, as well as notes the presence of garments from this time period in dress collections. Other topics explored include the reduction in hoop petticoat size, the "Robe à la Polonaise," by Claude-Louis Desrais, and the enhancement of a slender waist.

The article discusses the Fast Fashion Lille trade show held in Lille, France, in June 2013, which included the international fashion fabrics and furnishings trade show named Tissu Premier and the men's, women's, and children's clothing and fashion accessories collections for fashion stores named Collections. Topics mentioned include it stable attendance and international visitors, its conferences and forums on fashion, and its brochure on textile recycling. INSET: Recycling.

The article discusses how the integration of two fashion software tools helps improve all aspects in the development of a product's lifecycle, including the pattern design software for clothing CAO habillement and the product life cycle management software (PLM). Focus is given to the role of CAO and PLM in product innovation and their integration in the clothing industry.

The author replies to criticism of his article entitled "The Empire of Fashion and the Rise of Capitalism in Eighteenth-Century France," in the February 2010 edition of the journal. The author addresses the differences in historiographical assumptions between his critic and himself, the scholarship of scholar Ernst Ludwig Carl, and the relationship between 18th century capitalism and the French Revolution. The author reviews his examination of a Lyonnais, France, silk manufacture and the rise of the French fashion industry as a significant part of 18th century capitalist development.

A critique of an article entitled "The Empire of Fashion and the Rise of Capitalism in Eighteenth-Century France," by scholar William H. Sewell, Jr., in the February 2010 edition of the journal is presented. The author discusses his impressions of what he calls the revisionist historiography of the French Revolution, the development of capitalism in 18th century France, and the scholarship of the late Ernst Ludwig Carl.