Table Of ContentA Visual Guide to the History, Language,
& Practice of Fashion
FASHION
DESIGN,
REFERENCED
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FASHION
DESIGN,
REFERENCED
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A Visual Guide to the History, Language,
& Practice of Fashion
FASHION
DESIGN,
REFERENCED
Alicia Kennedy & Emily Banis Stoehrer
with Jay Calderin
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8 10
About This Book Defining Fashion
14
12 Illustrated Timeline 214
Fundamentals Dissemination
36 90 112 216
The System Centers Styles Presentation
196
128 286
Life of a Garment
Principles Practice
130 172 186 198 288
Design Construction Production Evolution Icons
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14 276
Illustrated Timeline 214 Fashion / Art
Dissemination
216 228 264 278
Presentation Media Market Tastemakers
402
196
286 Future of Fashion
Life of a Garment
Practice
198 288 350
Evolution Icons Artisans & Innovators
404 406
Recommended Reading Index
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8
About This Book
In 2006 Hussein Chalayan, working with tech innovators 2D:3D, encap- Acknowledgments
sulated eleven decades of fashion in a suite of breathtaking animatronic Like any endeavor in fashion, this book evolved as a team effort. Alicia
dresses that morphed from one era into another. Our cover splices and Emily researched and developed material; Alicia wrote Fundamen-
together two moments in one such evolution (from Dior to Rabanne) tals, Principles, and Practice, while Jay contributed much of Dissemi-
and is meant to evoke fashion’s constant referencing and transforma- nation. We had many conversations and, along the way, we had the
tion of its history and aesthetic language while looking into the future. support of many friends and colleagues.
Our book approaches fashion design from the perspective of connec- Thanks, above all, to Michael Guran, who housed and fed us and lent us
tivity. It unfolds how fashion is imagined, produced, and disseminated his expert eye and skilled hand.
within larger social, economic, and cultural systems. We have avoided
traditional chapters in favor of entries that can be read individually or At Rockport, Winnie Prentiss believed in the project from the start and
as part of an entire cycle. To borrow a metaphor from another disci- we are deeply grateful for her continued support. Betsy Gammons, as
pline, we offer this volume as a kind of tasting menu, our suggestions always, offered a calm presence amid the storm of details and deadlines.
for a progression of morsels to help the reader cultivate an informed
and discerning palette. Long-time collaborator Chris Grimley, together with Jonathan Hanahan,
realized the vision for this book with grace. Aiding them were three other
We must note a few limitations: Fashion design today continues to be members of the over,under family, Kyle Jonasen, Danielle LaFountaine,
dominated by its Western roots and by a focus on women’s clothing, and Kelly Smith.
which our book reflects. Moreover, some designers whose work we
value appear here only briefly or not at all, simply because we could not Celine Larkin contributed the wonderful suite of stitches. Charles
affordably source the images. Neumann began our timeline and Lynn Blake so ably stepped in to
complete the history.
Given fashion’s relentless pace and the speed at which information is
now transmitted, predicting its future has become exponentially harder. Lisa Kessler gave us portraits and photographic advice. For generously
Nonetheless, it is our hope that both students of fashion and connois- sharing images, we would like to thank designers Fukoko Ando, Lynne
seurs of design will find in these pages a path through the complexity Bruning, Natalie Chanin, Diana Eng, Carla Fernández, Marie Galvin,
of the industry’s operations to the substance behind the style, and Katiti Kironde, Carlos Mansilla, Maggie Orth, and Nara Paz; photog-
along the way, discover the extraordinary practitioners who have fash- raphers Tracy Aiguier, Claire Zellar Barclay, Joel Benjamin, and Andie
ioned the changing perceptions of the world out of thread and cloth. Guran; Philippa Katz of Barleycorn Antique Prints, Jeanie Quirk of
Sudbury Antique Exchange, Marilyn Negip of Brennan Library at Lasell
Alicia Kennedy College, Charles Cross and Alfred Fiandaca, Kim Pashko, and an anony-
mous collector. Our appreciation, as well, to Cora Hawks at Rockport,
Moira Heffernan at Getty Images, and Lyndsay Black at firstVIEW.
Our thanks to Teresa Calabro, Katie Ernest, and Hilary Ritter, for pitch-
ing in early in the process, and to Betty Ahearn, Laird Borrelli, Julian
Clark, Fred Dennis, Robert Frye, James Hannon, Henry Horenstein,
Cynthia Kozdeba, Mark Stoehrer, and Trisha Wilson-Nguyen for kind-
nesses along the way.
In memory of Alicia McGrory Kennedy Struble, for first lessons
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9
Acknowledgments
Like any endeavor in fashion, this book evolved as a team effort. Alicia
and Emily researched and developed material; Alicia wrote Fundamen-
tals, Principles, and Practice, while Jay contributed much of Dissemi-
nation. We had many conversations and, along the way, we had the
support of many friends and colleagues.
Thanks, above all, to Michael Guran, who housed and fed us and lent us
his expert eye and skilled hand.
At Rockport, Winnie Prentiss believed in the project from the start and
we are deeply grateful for her continued support. Betsy Gammons, as
always, offered a calm presence amid the storm of details and deadlines.
Long-time collaborator Chris Grimley, together with Jonathan Hanahan,
realized the vision for this book with grace. Aiding them were three other
members of the over,under family, Kyle Jonasen, Danielle LaFountaine,
and Kelly Smith.
Celine Larkin contributed the wonderful suite of stitches. Charles
Neumann began our timeline and Lynn Blake so ably stepped in to
complete the history.
Lisa Kessler gave us portraits and photographic advice. For generously
sharing images, we would like to thank designers Fukoko Ando, Lynne
Bruning, Natalie Chanin, Diana Eng, Carla Fernández, Marie Galvin,
Katiti Kironde, Carlos Mansilla, Maggie Orth, and Nara Paz; photog-
raphers Tracy Aiguier, Claire Zellar Barclay, Joel Benjamin, and Andie
Guran; Philippa Katz of Barleycorn Antique Prints, Jeanie Quirk of
Sudbury Antique Exchange, Marilyn Negip of Brennan Library at Lasell
College, Charles Cross and Alfred Fiandaca, Kim Pashko, and an anony-
mous collector. Our appreciation, as well, to Cora Hawks at Rockport,
Moira Heffernan at Getty Images, and Lyndsay Black at firstVIEW.
Our thanks to Teresa Calabro, Katie Ernest, and Hilary Ritter, for pitch-
ing in early in the process, and to Betty Ahearn, Laird Borrelli, Julian
Clark, Fred Dennis, Robert Frye, James Hannon, Henry Horenstein,
Cynthia Kozdeba, Mark Stoehrer, and Trisha Wilson-Nguyen for kind-
nesses along the way.
In memory of Alicia McGrory Kennedy Struble, for first lessons
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Fashion eludes easy definition. Broadly, fashion may be understood as shifting
Defining Fashion
styles of dress—that is, specific combinations of silhouettes, textiles, colors,
details, and fabrications—embraced by groups of people at a particular
time and place. Such styles may be projected by a designer or emerge from
the street. Fashion can also be viewed as the entire system of innovation,
production, marketing, dissemination, and adoption. Fashion is both a creative
endeavor and a product; or, put another way, it is an aesthetic practice that
produces useful, and sometimes lucrative, objects. On the one hand, a craft or
an art form; on the other, a multibillion dollar worldwide business.
Fashion’s reach, of course, goes far beyond the chain of activities that result
in objets de la mode. Dating at least to the late Middle Ages with the rise of
the city and early capitalism, fashion was redefined in the second half of the
nineteenth century with the spread of industrialization and the birth of the
modern couturier, and again in the late twentieth century with increasing
levels of democratization and globalization. Along this trajectory, fashion
has operated as cultural construction, social performance, spectacle, class
identification, self-expression, and lifestyle articulation. A consumer of history
enmeshed in its own time, fashion, like all design, can also be read as an
attempt, however fleeting, to predict and shape the future.
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