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< User:Osbus (/wiki/User:Osbus) Audacity (/wiki/Audacity) Rock and Roll (/wiki/Portal:Rock_and_Roll) Fashion (/wiki/Portal:Fashion) Village Pump (/wiki/Wikipedia:VP) Gallery (/w/index.php?title=User:Osbus/Gallery&action=edit&redlink=1) Community Justice (/wiki/Wikipedia:CJ) Special:Upload (/wiki/Special:Upload) User_talk:Osbus (/wiki/User_talk:Osbus) To Do (/w/index.php?title=User:Osbus/Todo&action=edit&redlink=1) NewPP limit report Parsed by mw‐api‐int.eqiad.main‐dc899b7cc‐jnth6 Cached time: 20240719143547 Cache expiry: 2592000 Reduced expiry: false Complications: [] CPU time usage: 0.011 seconds Real time usage: 0.015 seconds Preprocessor visited node count: 29/1000000 Post‐expand include size: 0/2097152 bytes Template argument size: 0/2097152 bytes Highest expansion depth: 1/100 Expensive parser function count: 0/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 0/5000000 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 0.000 1 -total Saved in parser cache with key enwiki:pcache:idhash:5046694-0!canonical and timestamp 20240719143547 and revision id 53022285. Rendering was triggered because: api-parse esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=User:Osbus/Header&oldid=53022285 (https://en.wikipedia.org/w/index.php?title=User:Osbus/Header&oldid=53022285) "
Feather, as used on headgear A plumed helmet A plume is a special type of bird feather (/wiki/Bird_feather) , possessed by egrets (/wiki/Egret) , ostriches (/wiki/Ostriches) , birds of paradise (/wiki/Birds_of_paradise) , quetzals (/wiki/Quetzals) , pheasants (/wiki/Pheasants) , peacocks (/wiki/Peacocks) and quails (/wiki/California_quail) . They often have a decorative or ornamental purpose, commonly used among marching bands (/wiki/Marching_band) and the military, worn on the hat or helmet of the wearer. When used on military headdresses (/wiki/Headdress) , the clipped feather plume is referred to as the hackle (/wiki/Hackle) . [ citation needed ] Background [ edit ] Brightly coloured plumes are used by American coot (/wiki/American_coot) chicks to entice their parents to feed them more food. It is a form of chick ornament. [ citation needed ] References [ edit ] This bird-related article is a stub (/wiki/Wikipedia:Stub) . You can help Wikipedia by expanding it (https://en.wikipedia.org/w/index.php?title=Plume_(feather)&action=edit) . v t e NewPP limit report Parsed by mw‐web.codfw.main‐58c7647fd9‐67bpx Cached time: 20240713194203 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1] CPU time usage: 0.159 seconds Real time usage: 0.239 seconds Preprocessor visited node count: 740/1000000 Post‐expand include size: 8929/2097152 bytes Template argument size: 1737/2097152 bytes Highest expansion depth: 12/100 Expensive parser function count: 2/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 5028/5000000 bytes Lua time usage: 0.092/10.000 seconds Lua memory usage: 2451389/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 212.366 1 -total 33.15% 70.406 1 Template:Short_description 31.79% 67.507 1 Template:Bird-stub 30.91% 65.652 1 Template:Asbox 20.91% 44.410 2 Template:Citation_needed 18.90% 40.131 2 Template:Pagetype 18.84% 40.012 2 Template:Fix 12.22% 25.942 4 Template:Category_handler 9.14% 19.408 6 Template:Main_other 8.02% 17.040 1 Template:Use_mdy_dates Saved in parser cache with key enwiki:pcache:idhash:34740082-0!canonical and timestamp 20240713194203 and revision id 1128858937. Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Plume_(feather)&oldid=1128858937 (https://en.wikipedia.org/w/index.php?title=Plume_(feather)&oldid=1128858937) " Categories (/wiki/Help:Category) : Feathers (/wiki/Category:Feathers) Headgear (/wiki/Category:Headgear) Bird stubs (/wiki/Category:Bird_stubs) Hidden categories: Articles with short description (/wiki/Category:Articles_with_short_description) Short description matches Wikidata (/wiki/Category:Short_description_matches_Wikidata) Use mdy dates from May 2022 (/wiki/Category:Use_mdy_dates_from_May_2022) All articles with unsourced statements (/wiki/Category:All_articles_with_unsourced_statements) Articles with unsourced statements from May 2022 (/wiki/Category:Articles_with_unsourced_statements_from_May_2022) All stub articles (/wiki/Category:All_stub_articles)
Traditional Tutsi hairstyle Tutsi (/wiki/Tutsi) man with Amasunzu hairstyle Amasunzu is an elaborate hairstyle (/wiki/Hairstyle) traditionally worn by Rwandan (/wiki/Banyarwanda) men [1] (#cite_note-umutesi-1) and unmarried women, [2] (#cite_note-dreams-2) with the hair styled into crests, [1] (#cite_note-umutesi-1) frequently described as crescent-shaped. [3] (#cite_note-piedsnus-3) The hairstyle indicated social status (/wiki/Social_status) , and men who did not wear Amasunzu were looked on with suspicion until the 20th century. [1] (#cite_note-umutesi-1) The style was also worn by unmarried women after the age of 18–20 years, indicating that they are of marriageable age. [3] (#cite_note-piedsnus-3) [2] (#cite_note-dreams-2) References [ edit ] ^ Jump up to: a b c Umutesi, Marie Béatrice (2004). Surviving the slaughter the ordeal of a Rwandan refugee in Zaire . Madison, Wis.: University of Wisconsin Press. p. 8 (https://archive.org/details/survivingslaught00mari/page/8) . ISBN (/wiki/ISBN_(identifier)) 9780299204938 . Retrieved 21 January 2017 . ^ Jump up to: a b Bamurangirwa, Patricia (2014). My Mother's Dreams . Troubador Publishing Ltd. p. 7. ISBN (/wiki/ISBN_(identifier)) 9781784626693 . Retrieved 21 January 2017 . ^ Jump up to: a b Mukasonga, Scholastique (2012). La femme aux pieds nus . Editions Gallimard. p. 77. ISBN (/wiki/ISBN_(identifier)) 9782072464843 . Retrieved 21 January 2017 . This Rwanda (/wiki/Rwanda) -related article is a stub (/wiki/Wikipedia:Stub) . You can help Wikipedia by expanding it (https://en.wikipedia.org/w/index.php?title=Amasunzu&action=edit) . v t e This fashion (/wiki/Fashion) -related article is a stub (/wiki/Wikipedia:Stub) . You can help Wikipedia by expanding it (https://en.wikipedia.org/w/index.php?title=Amasunzu&action=edit) . v t e NewPP limit report Parsed by mw‐web.eqiad.main‐8645764cd7‐8wk6v Cached time: 20240712175419 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1] CPU time usage: 0.217 seconds Real time usage: 0.774 seconds Preprocessor visited node count: 388/1000000 Post‐expand include size: 12120/2097152 bytes Template argument size: 346/2097152 bytes Highest expansion depth: 8/100 Expensive parser function count: 1/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 20559/5000000 bytes Lua time usage: 0.152/10.000 seconds Lua memory usage: 4072372/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 330.060 1 -total 37.29% 123.089 1 Template:Rwanda-stub 37.24% 122.930 2 Template:Asbox 33.42% 110.315 3 Template:Cite_book 25.17% 83.069 1 Template:Short_description 14.01% 46.244 2 Template:Pagetype 7.05% 23.259 2 Template:Main_other 6.28% 20.743 1 Template:SDcat 0.99% 3.269 1 Template:Fashion-stub 0.71% 2.335 1 Template:Short_description/lowercasecheck Saved in parser cache with key enwiki:pcache:idhash:52938897-0!canonical and timestamp 20240712175419 and revision id 1227240295. Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Amasunzu&oldid=1227240295 (https://en.wikipedia.org/w/index.php?title=Amasunzu&oldid=1227240295) " Categories (/wiki/Help:Category) : Culture of Rwanda (/wiki/Category:Culture_of_Rwanda) Hairstyles (/wiki/Category:Hairstyles) Rwanda stubs (/wiki/Category:Rwanda_stubs) Fashion stubs (/wiki/Category:Fashion_stubs) Hidden categories: Articles with short description (/wiki/Category:Articles_with_short_description) Short description matches Wikidata (/wiki/Category:Short_description_matches_Wikidata) All stub articles (/wiki/Category:All_stub_articles)
The topic of this article may not meet Wikipedia's general notability guideline (/wiki/Wikipedia:Notability) . Please help to demonstrate the notability of the topic by citing reliable secondary sources (/wiki/Wikipedia:Reliable_sources) that are independent (/wiki/Wikipedia:Independent_sources) of the topic and provide significant coverage of it beyond a mere trivial mention. If notability cannot be shown, the article is likely to be merged (/wiki/Wikipedia:Merging) , redirected (/wiki/Wikipedia:Redirect) , or deleted (/wiki/Wikipedia:Deletion_policy) . Find sources: "Bellcamp Stores" (https://www.google.com/search?as_eq=wikipedia&q=%22Bellcamp+Stores%22) – news (https://www.google.com/search?tbm=nws&q=%22Bellcamp+Stores%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Bellcamp+Stores%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Bellcamp+Stores%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Bellcamp+Stores%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Bellcamp+Stores%22&acc=on&wc=on) ( August 2022 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Bellcamp Stores operated a store chain (/wiki/Store_chain) which sold Kaufmann's (/wiki/Kaufmann%27s) hats in forty-one stores in sixteen states in the 1930s [ when? ] . Benjamin H. Kaufmann was president of the business. Bellcamp filed for permission to reorganize under the Bankruptcy Act of 1898 (/wiki/Bankruptcy_Act_of_1898) , on June 30, 1936. A casualty of the Great Depression (/wiki/Great_Depression) , the corporation listed liabilities of $261,940 and assets of $333,030. The business was important because it sold merchandise in multiple regions of the United States. It was based at 123 West 42nd Street (/wiki/42nd_Street_(Manhattan)) . [1] (#cite_note-1) Bellcamp Stores emerged from bankruptcy and continued to do business in New York City (/wiki/New_York_City) . The company leased space in a building located at 13 - 25 Astor Place (/wiki/Astor_Place_(Manhattan)) in January 1939. [2] (#cite_note-2) Prior to its bankruptcy reorganization the firm leased a store at 954 Flatbush Avenue (/wiki/Flatbush_Avenue_(Brooklyn)) to Griddle Eats, Inc. [3] (#cite_note-3) In July 1935 Bellcamp Stores leased to London Hats, Inc., building space at 600 West 181st Street (/wiki/181st_Street_(Manhattan)) . [4] (#cite_note-4) References [ edit ] ^ (#cite_ref-1) Chain Files Under 77B , The New York Times (/wiki/The_New_York_Times) , July 1, 1936, pg. 45. ^ (#cite_ref-2) Apparel Concerns Rent New Quarters , The New York Times , January 31, 1939, pg. 41. ^ (#cite_ref-3) Firms Take Floors In Midtown Section , The New York Times , December 17, 1935, pg. 44. ^ (#cite_ref-4) Business Leases , The New York Times , July 12, 1935, pg. 36. This United States retail business article is a stub (/wiki/Wikipedia:Stub) . You can help Wikipedia by expanding it (https://en.wikipedia.org/w/index.php?title=Bellcamp_Stores&action=edit) . v t e NewPP limit report Parsed by mw‐api‐ext.eqiad.main‐85f5b4c5d4‐xmw87 Cached time: 20240713065321 Cache expiry: 2592000 Reduced expiry: false Complications: [] CPU time usage: 0.154 seconds Real time usage: 0.312 seconds Preprocessor visited node count: 456/1000000 Post‐expand include size: 15650/2097152 bytes Template argument size: 539/2097152 bytes Highest expansion depth: 12/100 Expensive parser function count: 2/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 7050/5000000 bytes Lua time usage: 0.103/10.000 seconds Lua memory usage: 1715623/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 226.078 1 -total 39.96% 90.335 1 Template:Notability 32.30% 73.032 1 Template:Ambox 30.33% 68.559 1 Template:US-retail-company-stub 29.47% 66.621 1 Template:Asbox 27.37% 61.887 1 Template:When 26.49% 59.884 1 Template:Fix 21.10% 47.699 1 Template:Delink 6.04% 13.653 1 Template:Find_sources_mainspace 2.67% 6.040 1 Template:Strong Saved in parser cache with key enwiki:pcache:idhash:25433904-0!canonical and timestamp 20240713065321 and revision id 1201500120. Rendering was triggered because: api-parse esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Bellcamp_Stores&oldid=1201500120 (https://en.wikipedia.org/w/index.php?title=Bellcamp_Stores&oldid=1201500120) " Categories (/wiki/Help:Category) : Defunct companies based in New York City (/wiki/Category:Defunct_companies_based_in_New_York_City) 1936 disestablishments in New York (state) (/wiki/Category:1936_disestablishments_in_New_York_(state)) Great Depression in the United States (/wiki/Category:Great_Depression_in_the_United_States) Retail companies disestablished in 1936 (/wiki/Category:Retail_companies_disestablished_in_1936) United States retail company stubs (/wiki/Category:United_States_retail_company_stubs) Hidden categories: Articles with topics of unclear notability from August 2022 (/wiki/Category:Articles_with_topics_of_unclear_notability_from_August_2022) All articles with topics of unclear notability (/wiki/Category:All_articles_with_topics_of_unclear_notability) All articles with vague or ambiguous time (/wiki/Category:All_articles_with_vague_or_ambiguous_time) Vague or ambiguous time from August 2022 (/wiki/Category:Vague_or_ambiguous_time_from_August_2022) All stub articles (/wiki/Category:All_stub_articles)
French-American model and filmmaker Marjorie Conrad Conrad at the 2016 Slamdance Film Festival (/wiki/Slamdance_Film_Festival) Born ( 1988-10-01 ) October 1, 1988 (age 35) Marseille (/wiki/Marseille) , France Alma mater San Francisco State University (/wiki/San_Francisco_State_University) Occupations Filmmaker model Years active 2008–present Parent(s) Didier Conrad (/wiki/Didier_Conrad) Sophie Commenge (https://fr.wikipedia.org/wiki/Wilbur_(sc%C3%A9nariste)) Modeling information Height 5 ft 11 in (1.80 m) Hair color Brown (/wiki/Brown_hair) Eye color Brown (/wiki/Eye_color#Brown) Website www.marjorie-conrad.com (https://www.marjorie-conrad.com) Marjorie Conrad (born October 1, 1988) is a French-American filmmaker and model. She is known for being the eleventh eliminated America's Next Top Model (Cycle 11) (/wiki/America%27s_Next_Top_Model_(cycle_11)) , and for her narrative feature films Chemical Cut (/wiki/Chemical_Cut) (2016) and Desire Path (2020). Personal life [ edit ] Conrad was born in Marseille (/wiki/Marseille) to French parents Didier Conrad (/wiki/Didier_Conrad) , a graphic novel artist of Swiss (/wiki/Swiss_abroad#France) origin, and Sophie Commenge (https://fr.wikipedia.org/wiki/Wilbur_(sc%C3%A9nariste)) , a graphic novel scenarist of partial Italian (/wiki/Italians_in_France) ancestry. When she was eight years old, the family left France and relocated to Los Angeles, California (/wiki/Los_Angeles) after her father began working on the film The Road to El Dorado (/wiki/The_Road_to_El_Dorado) (2000) with DreamWorks Studio (/wiki/DreamWorks_Animation) . Conrad and her brother did not learn English (/wiki/English_language) until beginning public schooling in California. Conrad attended school in the Los Angeles Unified School District (/wiki/Los_Angeles_Unified_School_District) , and began pursuing filmmaking as a middle schooler. She then attended Cleveland High School (/wiki/Cleveland_High_School_(Los_Angeles)) and San Francisco State University (/wiki/San_Francisco_State_University) , where she graduated summa cum laude (/wiki/Latin_honors#North_America) with a degree in film production in 2011. Career [ edit ] America's Next Top Model [ edit ] In 2008, Conrad was scouted at the San Francisco State University campus bookstore the eleventh cycle (/wiki/America%27s_Next_Top_Model,_Cycle_11) of America's Next Top Model (/wiki/America%27s_Next_Top_Model) . After being the fourth (after Sheena Sakai, Lio Tipton (/wiki/Lio_Tipton) and Nikeysha Clarke) girl selected as a cast member, Conrad was never placed below seventh. [1] (#cite_note-1) Her portfolio frequently garnered much praise from the judges. Conrad received two first call-outs which were both shot by photographer Mike Rosenthal (i.e. portraying the political issue of immigration during the voting-themed photoshoot in week one and embodying an award show mishap inspired by Tyra's Fiercee Awards in a dramatic photoshoot in week six). She also won two challenges (i.e. her high-fashion take on the "Hunchback from Notre-Dame" impressed Tyra Banks (/wiki/Tyra_Banks) during the Signature Pose Challenge, winning her diamonds at Rafinity Jewelry valued at 12k in week six and the commercial shoot challenge with model Mark Vanderloo (/wiki/Mark_Vanderloo) judged by Paulina Porizkova (/wiki/Paulina_Porizkova) where she was rewarded with a 10k shopping spree at G-Star Raw (/wiki/G-Star_Raw) in week ten). Conrad during both her challenge wins chose to split and share the prize evenly with her friend and fellow contestant Tipton (/wiki/Lio_Tipton) ) In week seven, challenge winner Elina Ivanova chose Conrad and Tipton (/wiki/Lio_Tipton) to feature in a Seventeen Magazine holiday photoshoot. Conrad survived her first-ever bottom two appearance over Ivanova who was eliminated in her third consecutive bottom two appearance in week nine. The judges eliminated Conrad eleventh in Amsterdam (/wiki/Amsterdam) during her second consecutive bottom two appearance which Samantha Potter had survived for the second time. Other Modeling [ edit ] Post-Top Model, Conrad resumed her studies at San Francisco State University and signed with Look Model Agency from 2009–2011. [2] (#cite_note-2) Modeling credits included a cover and spreads in Fantasticsmag (/w/index.php?title=Fantasticsmag&action=edit&redlink=1) , opening a Marciano runway show, walking for the Parc 55 Hotel opening show, closing and a video shoot for the San Francisco Art Institute graduation show, several shoots and shows for diPietro Todd Salon, multiple shoots for Edo Salon, a shoot for Atelier Emmanuel, a trade show with Gina Khan Salon, in-store modeling for Neiman Marcus (/wiki/Neiman_Marcus) , and a video shoot for Macy's West (/wiki/Macy%27s_West) and MAC Cosmetics (/wiki/MAC_Cosmetics) . She has worked with San Francisco photographers Aubrey Trinnaman, Hideki Owa, Billy Winters, Tara Chumpelik, Christian Pollock, Tara Arrowood, Cody Rasmussen, RC Rivera, Jean-Baptiste Petispas, and Brittany McCall. [3] (#cite_note-3) Film [ edit ] Her 2011 graduate thesis film Limehouse won the Audience Award at the Juried Previews for the SFSU 51st Film Finals, [4] (#cite_note-4) was selected to close the Film Finals screening, won Best Narrative at the Excelsior Short Film Festival, [5] (#cite_note-5) and was praised by Sundance Feature Film Program Manager Cullen Conly. The short narrative film focused on San Francisco and featured legendary transgender pioneer Vicki Marlane in a rare and classic rendition of Lisa Kirk (/wiki/Lisa_Kirk) 's Limehouse Blues (/wiki/Limehouse_Blues_(song)) . After graduating with honors in 2011, Conrad moved from San Francisco to Los Angeles and set out to write her first feature script while working as a receptionist at World of Wonder Productions (/wiki/World_of_Wonder_(production_company)) . It was there that she met her future cast members, including the late Ian Coster (son of Days of Our Lives (/wiki/Days_of_Our_Lives) actor Nicolas Coster (/wiki/Nicolas_Coster) , also performing in the film), Michael Lucid, Deven Green (/wiki/Deven_Green) , David Keeps, and Stephen Saban, co-founder of Details (/wiki/Details_(magazine)) . She fully funded the film using her earnings from World of Wonder, teaming up with SFSU alums Barret Hacia (Producer) and Mackenzie Mathis (Cinematographer). Marjorie wore many hats for the project: writer, director, lead actor, executive producer, and editor. Her surreal debut feature, titled Chemical Cut (https://www.imdb.com/title/tt3406296) , world premiered at the top-tier 2016 Slamdance Film Festival (/wiki/Slamdance_Film_Festival) as an Official Selection in the Narrative Competition. [6] (#cite_note-auto-6) Marjorie was one of only two female directors accepted in the 2016 Narrative Feature lineup. In her dark comedy, "Irene, a 23-year-old artistic misfit, pursues a modeling career to escape her dead-end retail job but is quickly disillusioned by the cutthroat nature of the Los Angeles fashion world. Searching for identity and a kindred spirit while surrounded by competition, absurdity, and so many nude bras, Irene flounders until a mysterious woman's performance ignites her imagination." [7] (#cite_note-7) Programmer Marie Jamora explained, "Writer/Director/Editor/Lead Actress Marjorie Conrad developed the story from her own experience as a former model, and she shows us a world where mannequins are treated better than real women, verbal molestation is palpable, and the scariest predators of pretty girls are the other pretty girls.” [8] (#cite_note-8) Chemical Cut had a positive critical reception, including the following favorable reviews from Hammer To Nail, [9] (#cite_note-9) Film Colossus, [10] (#cite_note-10) Beyond Chron, [11] (#cite_note-11) The Film Stage, [12] (#cite_note-12) Eat Drink Films, [13] (#cite_note-13) and Slug Magazine. [14] (#cite_note-14) The following interviews with the cast and crew were conducted by Twitch Film, [15] (#cite_note-15) World of Wonder [16] (#cite_note-16) hosted by James St. James (/wiki/James_St._James) , Film Colossus, [17] (#cite_note-17) The Park Record, [18] (#cite_note-18) The Art of Monteque, [19] (#cite_note-19) Screen Prism, [20] (#cite_note-20) Serving Cinema, [21] (#cite_note-21) Filmmaker Magazine, [22] (#cite_note-22) and MovieMaker Magazine. [23] (#cite_note-23) Other local radio and television interviews were conducted by Entertainment Journal, Park City Television, KPCW Radio, KXRK 96 Radio, Attention Deficit, UNLV Rebel Yell, P3 Update, International Screenwriting Association, and Examiner. The film was singled out as a festival highlight by AMFM Magazine, [24] (#cite_note-24) Variety, [25] (#cite_note-25) Twitch Film, [26] (#cite_note-26) Hammer To Nail, [27] (#cite_note-27) and The Davis Clipper, [28] (#cite_note-28) and the festival trailer was initially released on Indiewire. [29] (#cite_note-29) Filmmaker Magazine called the film "beguiling" and "intriguing," Slug Magazine described it as "a beautifully wrought film of the often fraught search for identity" and argued "the film manages to deftly explore questions of identity and creativity—perhaps drawing from Conrad’s own experiences—through opulent shots, outrageous characters and an exquisite backdrop of heightened reality." [30] (#cite_note-30) While at the festival, Recreation Media secured the film's international rights. It screened at the ArcLight Hollywood on May 10, 2016 and the ArcLight Chicago on May 18, 2016 as part of the Slamdance Cinema Club. [31] (#cite_note-31) The film was nominated for the Indie Spirit Award and won the Female Eye Filmmaking Award at The New Hope Film Festival. [32] (#cite_note-32) It was an Official Selection at the 2016 Buffalo International Film Festival in the Domestic and ArtHouse Feature category. [33] (#cite_note-33) Marjorie was interviewed for BIFFX by actress Tilke Hill as part of a Women in Film panel with feature directors Stavroula Toska (Beneath The Olive Tree) and Victoria Negri (Gold Star). [34] (#cite_note-34) Chemical Cut was released on Amazon Prime Video [35] (#cite_note-35) and Marjorie Conrad's YouTube Channel (https://www.youtube.com/@mconrad) . [36] (#cite_note-36) Conrad's second feature film, Desire Path (https://www.imdb.com/title/tt12998774) , premiered at the 2020 Mammoth Lakes Film Festival (/wiki/Mammoth_Lakes_Film_Festival) and won the Audience Award for Best Narrative Feature. Notable cast include Otto von Schirach (/wiki/Otto_von_Schirach) and Amy Deanna (/wiki/CoverGirl#Celebrities) . [37] (#cite_note-:0-37) Film critic, curator, and artist Nikola Gocić (https://ngbooart.blogspot.com/) cited Desire Path as one of his cinematic favorites of 2020, an "uncompromising sophomore feature–a deliberately paced, relentlessly elliptical and formally adventurous de(con)struction of the vampire subgenre." [38] (#cite_note-38) [39] (#cite_note-39) Gocić subsequently praised the 2021 version of the film: "Marjorie Conrad’s grimly sensual mood piece–one of the finest experimental features I saw last year–gets a condensed, yet even more daring version which emphasizes the film’s ‘tactility’. And when I say ‘tactility’, I don’t refer to it only in its literal sense, but also as in ‘a half-remembered dream that gently touches your psyche before veiling it in uncanny ethereality'..." [40] (#cite_note-40) The 2021 version of Desire Path was released on Amazon Prime Video; [41] (#cite_note-41) both the 2020 [42] (#cite_note-42) and 2021 [43] (#cite_note-43) versions were released on Marjorie Conrad's YouTube channel (https://www.youtube.com/@mconrad) . Conrad's formally daring third feature, Body Issues (https://www.imdb.com/title/tt29519815) , makes innovative use of body cam footage, a lack of visible human faces, [44] (#cite_note-:1-44) and "an unreliable narrator as the only guide." [45] (#cite_note-:2-45) It debuted at the 2023 Cine-Excess (/wiki/Cine-Excess) Film Festival in the UK, exploring "physical and familial alienation" central to the festival's theme. [46] (#cite_note-:3-46) In his review, Nikola Gocić commends the film's bold, raw, and essayistic experimentation that "constantly keeps you guessing," describing the film as "a heavy dream in which you’re enveloped in darkness, and lost in a place you can’t recognize," its nightmarish atmosphere reminiscent of "Philippe Grandrieux and David Lynch (in the Inland Empire element)." [45] (#cite_note-:2-45) The film was also programmed at the 2023 Bridge Film and Video Festival, [47] (#cite_note-:4-47) the 2023 BizarroLand (/wiki/BizarroLand_Film_Festival) Film Festival, [48] (#cite_note-:5-48) and the 2024 New Jersey Film Festival (/wiki/New_Jersey_Film_Festival) . [44] (#cite_note-:1-44) Filmography [ edit ] Film [ edit ] Film Year Title Role Festival Screenings Notes / Awards 2011 Limehouse Director / Writer / Producer / Editor SFSU 51st Film Finals Audience Award [49] (#cite_note-49) Closed Film Finals 2011 Excelsior Short Film Festival Best Narrative [50] (#cite_note-50) 2016 Chemical Cut (/wiki/Chemical_Cut) Director / Writer / Producer / Editor / Lead Actor 2016 Slamdance Film Festival Official Selection – Narrative Competition [6] (#cite_note-auto-6) Best Narrative Feature (Nominee) [51] (#cite_note-51) 2016 New Hope Film Festival Official Selection [52] (#cite_note-auto1-52) Female Eye Filmmaking Award [52] (#cite_note-auto1-52) Indie Spirit Award (Nominee) [52] (#cite_note-auto1-52) 2016 Buffalo International Film Festival Official Selection [53] (#cite_note-53) 2020 Desire Path (Festival Cut) Director / Writer / Producer / Editor 2020 Mammoth Lakes Film Festival World Premiere [54] (#cite_note-54) [37] (#cite_note-:0-37) Audience Award [55] (#cite_note-55) 2021 Desire Path (Final Cut) Director / Writer / Producer / Editor N/A Alternate version released on YouTube [56] (#cite_note-56) [57] (#cite_note-57) 2023 Body Issues Director / Writer / Producer / Cinematographer / Actor / Editor / Sound Designer 2023 Cine-Excess Film Festival Official Selection [46] (#cite_note-:3-46) 2023 Bridge Film and Video Festival Official Selection – Opening Film [47] (#cite_note-:4-47) 2023 BizarroLand Film Festival Official Selection – Closing Film [48] (#cite_note-:5-48) 2024 New Jersey Film Festival Official Selection [44] (#cite_note-:1-44) Television [ edit ] Television Year Title Role Episode # Notes / Awards 2008 America's Next Top Model (Cycle 11) (/wiki/America%27s_Next_Top_Model_(cycle_11)) Self 2 – Top Model Inauguration 1st Place Photo Call-Out, shot by Mike Rosenthal 7 – The Fiercee Awards 1st Place Photo Call-Out, shot by Mike Rosenthal Won Reward Challenge – Best Signature Pose, shot by Tyra Banks 12 – Good Times and Windmills Finished 4th Won Reward Challenge – Commercial Shoot with Mark Vanderloo References [ edit ] ^ (#cite_ref-1) "TV Tropes/ Characters/America's Next Top Model Cycle Eleven" (http://tvtropes.org/pmwiki/pmwiki.php/Characters/AmericasNextTopModelCycleEleven) . ^ (#cite_ref-2) "LOOK Model Agency" (https://web.archive.org/web/20160314074108/http://lookmodelagency.com/details.asp?from=&gid=&modelid=425554&spid=138&subid=3874) . Archived from the original (http://www.lookmodelagency.com/details.asp?gid=&spid=138&subid=3874&from=&modelid=425554) on 2016-03-14 . Retrieved July 29, 2017 . ^ (#cite_ref-3) "All ANTM/Cycle 11/Marjorie Conrad" (http://all-antm.net/index.php?cat=167) . All ANTM . ^ (#cite_ref-4) "SFSU Film Finals: Congratulations 2011 Award Winners" (https://sfsufilmfinals.wordpress.com/2011/05/18/congratulations-2011-award-winners/) . 18 May 2011. ^ (#cite_ref-5) "The Bay Area Reporter: Memorial for Vicki Marlane Sunday" (http://www.ebar.com/news/article.php?sec=news&article=5861) . ^ a b "SLAMDANCE ANNOUNCES 2016 FEATURE FILM COMPETITION WITH INCREASED... – Slamdance" (http://slamdance.com/SLAMDANCE-ANNOUNCES-2016-FEATURE-FILM-COMPETITION-WITH-INCREASED) . slamdance.com . Retrieved 2017-07-30 . ^ (#cite_ref-7) "SLAMDANCE ANNOUNCES 2016 FEATURE FILM COMPETITION WITH INCREASED GLOBAL REACH AND DIVERSITY" (http://slamdance.com/SLAMDANCE-ANNOUNCES-2016-FEATURE-FILM-COMPETITION-WITH-INCREASED) . ^ (#cite_ref-8) "amfm magazine slamdance 2016 10 can't miss picks" (http://www.amfm-magazine.com/slamdance-2016-10-cant-miss-picks/) . ^ (#cite_ref-9) "Hammer To Nail Festival Review: Chemical Cut" (http://www.hammertonail.com/film-festivals/chemical-cut-movie-review/) . Hammer To Nail . 26 January 2016. ^ (#cite_ref-10) "Film Colossus Festival Review: Chemical Cut" (https://www.filmcolossus.com/single-post/2016/10/20/CHEMICAL-CUT-FIGHT-CLUB-GROUNDHOG-DAY-THE-NATURAL-and-the-secret-of-dealing-with-life-when-it%E2%80%99s-overwhelming-and-you-feel-stuck) . ^ (#cite_ref-11) "Beyond Chron Festival Review: Chemical Cut" (http://www.beyondchron.org/31290-2/) . Beyond Chron . February 2016. ^ (#cite_ref-12) "The Film Stage Slamdance Review: Chemical Cut" (https://thefilmstage.com/reviews/slamdance-review-chemical-cut/) . The Film Stage . 28 January 2016. ^ (#cite_ref-13) "Eat Drink Films Slamdance Review: Chemical Cut" (https://eatdrinkfilms.com/2016/01/28/slamdance/) . Eat Drink Films . 28 January 2016. ^ (#cite_ref-14) "Slug Mag Film Review: Chemical Cut" (http://www.slugmag.com/film-reviews/chemical-cut/) . Slug Mag . 23 January 2016. ^ (#cite_ref-15) "Slamdance 2016 Meet the Filmmakers Part 2" (https://web.archive.org/web/20160123010126/http://twitchfilm.com/2016/01/slamdance-2016-meet-the-filmmakers-part-2-gallery.html#4) . Twitch Film . Archived from the original (http://twitchfilm.com/2016/01/slamdance-2016-meet-the-filmmakers-part-2-gallery.html#4) on 2016-01-23. ^ (#cite_ref-16) "Wow Exclusive JSJ Interviews Marjorie Conrad On Her New Film Chemical Cut" (http://worldofwonder.net/wowexclusive-jsj-interviews-marjorie-conrad-on-her-new-film-chemical-cut/) . 18 January 2016. ^ (#cite_ref-17) "Chemical Cut: Interviews: Writer-Director-Actor Marjorie Conrad" (http://www.filmcolossus.com/chemical-cut/interviews/writer-director-actor-marjorie-conrad) . 31 December 2017. [ dead link ] ^ (#cite_ref-18) "Conrad's Chemical Cut Inspired By Her Modeling Experiences" (http://www.parkrecord.com/ci_29420514/conrads-chemical-cut-inspired-by-her-modeling-experiences) . The Park Record . 23 January 2016. ^ (#cite_ref-19) "A Conversation with Fiilmmaker Marjorie Conrad of the 2016 Slamdance Film Chemical Cut" (http://theartofmonteque.com/2016/02/02/a-conversation-with-filmmaker-marjorie-conrad-of-the-2016-slamdance-film-chemical-cut/) . 2 February 2016. ^ (#cite_ref-20) "Ask The Director: America's Next Top Model Alum Marjorie Conrad Talks About Her Film Chemical Cut" (http://screenprism.com/insights/article/ask-the-director-americas-next-top-model-alum-marjorie-conrad-talks-about-h) . Screen Prism . ^ (#cite_ref-21) "Marjorie Conrad ANTM Interview" (https://web.archive.org/web/20160316223624/http://servingcinema.com/2016/01/marjorie-conrad-antm-interview/) . Archived from the original (http://servingcinema.com/2016/01/marjorie-conrad-antm-interview/) on 2016-03-16. ^ (#cite_ref-22) "DP Mackenzie Mathis on Slamdance World Premiere Chemical Cut" (http://filmmakermagazine.com/97100-dp-mackenzie-mathis-on-slamdance-world-premiere-chemical-cut/#.VqpX4zaJmlI) . 28 January 2016. ^ (#cite_ref-23) "MovieMaker Magazine Slamdance 2016 Preview" (http://www.moviemaker.com/archives/festivals/slamdance-2016-preview/) . 26 January 2023. ^ (#cite_ref-24) "AMFM Magazine Slamdance 2016 10 Can't Miss Picks" (http://www.amfm-magazine.com/slamdance-2016-10-cant-miss-picks/) . ^ (#cite_ref-25) "Variety 2016 Film Festival Slamdance Continues to Challenge Indie Film Orthodoxy" (https://variety.com/2016/film/festivals/slamdance-continues-to-challenge-indie-film-orthodoxy-1201684660/) . 21 January 2016. ^ (#cite_ref-26) "Twitch Film's Top Picks Slamdance 2016 Preview" (https://web.archive.org/web/20160122164409/http://twitchfilm.com/2016/01/slamdance-2016-preview-twitchfilms-top-picks-gallery.html#3) . Archived from the original (http://twitchfilm.com/2016/01/slamdance-2016-preview-twitchfilms-top-picks-gallery.html#3) on 2016-01-22. ^ (#cite_ref-27) "Hammer to Nail 2016 Slamdance Film Festival Preview" (http://www.hammertonail.com/reviews/2016-slamdance-film-festival-preview/) . 21 January 2016. ^ (#cite_ref-28) "Davis Clipper Launching Pads of Sundance and Slamdance" (https://web.archive.org/web/20170817035856/http://davisclipper.com/view/full_story/27062313/article-Tom-s-Tomes--Launching-pads-of-Sundance-and-Slamdance?instance=lead_story_left_column) . Archived from the original (http://davisclipper.com/view/full_story/27062313/article-Tom-s-Tomes--Launching-pads-of-Sundance-and-Slamdance?instance=lead_story_left_column) on 2017-08-17. ^ (#cite_ref-29) "Watch: Exclusive Chemical Cut Trailer Slices Deep Into the Modeling World" (http://www.indiewire.com/article/watch-exclusive-chemical-cut-trailer-slices-deep-into-the-modeling-world-20160119) . Indiewire . 19 January 2016. ^ (#cite_ref-30) "Slamdance Film Review: Chemical Cut" (https://thefilmstage.com/reviews/slamdance-review-chemical-cut//film-reviews/chemical-cut/) . [ dead link ] ^ (#cite_ref-31) "ArcLight Cinema and Slamdance Takes Cinema Club Program Across the Country" (https://web.archive.org/web/20170624190334/http://slamdance.com/ArcLight-Cinemas-and-Slamdance-Takes-Cinema-Club-Program-Across-the) . Archived from the original (http://slamdance.com/ArcLight-Cinemas-and-Slamdance-Takes-Cinema-Club-Program-Across-the) on 2017-06-24. ^ (#cite_ref-32) "2016 New Hope Film Festival Announces Awards" (http://www.nj.com/hunterdon-county-democrat/index.ssf/2016/08/new_hope_film_festival_announces_awards.html) . August 2016. ^ (#cite_ref-33) "2016 Buffalo International Film Festival Lineup" (http://buffalointernationalfilmfestival.com/lineup/) . ^ (#cite_ref-34) "The New Hotness – BIFFX – Women In Film Panel discussion" (https://www.youtube.com/watch?v=Pv-h6CaNkIs) . YouTube (/wiki/YouTube) . ^ (#cite_ref-35) "Watch Chemical Cut (Director's Cut) \| Prime Video" (https://www.amazon.com/Chemical-Cut-Directors-Marjorie-Conrad/dp/B07D253L4X) . www.amazon.com . Retrieved 2023-10-20 . ^ (#cite_ref-36) Chemical Cut (Festival Version) - Full Feature Film , retrieved 2023-10-20 ^ a b Conrad, Marjorie (2020-09-18), Desire Path (Horror), Amy Deanna, Otto von Schirach, Andrew Banewicz , retrieved 2020-09-17 ^ (#cite_ref-38) Gocić, Nikola (2020-11-01). "NGboo Art: Cinematic Favorites 10/20" (https://ngbooart.blogspot.com/2020/11/cinematic-favorites-1020.html) . NGboo Art . Retrieved 2023-10-20 . ^ (#cite_ref-39) Gocić, Nikola (2020-12-29). "NGboo Art: Top 60 (Recent) Films of 2020" (https://ngbooart.blogspot.com/2020/12/top-60-recent-films-of-2020.html) . NGboo Art . Retrieved 2023-10-20 . ^ (#cite_ref-40) Gocić, Nikola (February 14, 2021). "www.facebook.com/nikola.gocic.3" (https://archive.today/20231020190442/https://www.facebook.com/nikola.gocic.3/posts/10225268613048311?ref=embed_post) . Facebook (/wiki/Facebook) . Archived from the original (https://www.facebook.com/nikola.gocic.3/posts/10225268613048311?ref=embed_post) on October 20, 2023. ^ (#cite_ref-41) "Watch Desire Path (Final Cut) \| Prime Video" (https://www.amazon.com/Desire-Path-Final-Cut-Deanna/dp/B08M9NJSSD) . www.amazon.com . Retrieved 2023-10-20 . ^ (#cite_ref-42) Desire Path (Festival Cut) - Full Feature Film - Amy Deanna, Otto von Schirach , retrieved 2023-10-20 ^ (#cite_ref-43) Desire Path (Final Cut) - Full Feature Film - Amy Deanna, Otto von Schirach , retrieved 2023-10-20 ^ a b c "Body Issues \| Body Issues – Online for 24 Hours and In-Person at 5PM! \| New Jersey Film Festival Spring 2024" (https://watch.eventive.org/newjerseyfilmfestivalspring2024/play/65248fd99e249a004af860f0) . watch.eventive.org . Retrieved 2023-10-20 . ^ a b Gocić, Nikola (2023-10-20). "NGboo Art: Body Issues (Marjorie Conrad, 2023)" (https://ngbooart.blogspot.com/2023/10/body-issues-marjorie-conrad-2023.html) . NGboo Art . Retrieved 2023-10-20 . ^ a b "Body Issues (2023) - Cine-Excess" (https://www.cine-excess.co.uk/body-issues-2023.html) . www.cine-excess.co.uk . Retrieved 2023-10-20 . ^ a b "Bridge" (https://www.bridge-chicago.org/news/bridge-filmvideofest-lineup2023) . Bridge . Retrieved 2023-10-20 . ^ a b "Schedule – BizarroLand Film Festival" (https://bizarrolandfilm.com/schedule/) . Retrieved 2023-10-20 . ^ (#cite_ref-49) "Congratulations 2011 Award Winners!" (https://sfsufilmfinals.wordpress.com/2011/05/18/congratulations-2011-award-winners/) . 2011 SFSU Film Finals . 2011-05-18 . Retrieved 2017-07-30 . ^ (#cite_ref-50) "The Bay Area Reporter Online – Memorial for Vicki Marlane Sunday" (http://www.ebar.com/news/article.php?sec=news&article=5861) . ^ (#cite_ref-51) "Chemical Cut" (https://www.imdb.com/title/tt3406296/awards?ref_=tt_awd) . IMDb (/wiki/IMDb) . ^ a b c Whipple, D. F. (1 August 2016). "New Hope Film Festival: 2016 Award Winners" (http://newhopefilmfest.blogspot.com/2016/08/2016-award-winners.html) . ^ (#cite_ref-53) "Lineup – Buffalo International Film Festival" (http://buffalointernationalfilmfestival.com/lineup/) . buffalointernationalfilmfestival.com . ^ (#cite_ref-54) "2020 Features" (https://www.mammothlakesfilmfestival.com/2020-features) . MLFF . Retrieved 2020-09-17 . ^ (#cite_ref-55) Hammond, Caleb (2020-09-21). "Residue Wins Best Narrative Feature at Mammoth Lakes Film Festival" (https://www.moviemaker.com/residue-merawi-gerimo-mammoth-lakes-film-festival-2020-complete-awards-winners/) . MovieMaker Magazine . Retrieved 2020-09-21 . ^ (#cite_ref-56) Desire Path (2020) - IMDb , retrieved 2021-02-19 ^ (#cite_ref-57) "Desire Path (Final Cut) - Full Feature Film - Amy Deanna, Otto von Schirach - YouTube" (https://www.youtube.com/watch?v=Q55m7RqStcI) . www.youtube.com . 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Wikimedia Commons has media related to Fashion designers (https://commons.wikimedia.org/wiki/Category:Fashion_designers) . Designers of clothing/garments, either independent or employed by fashion houses. Where possible, people should be categorised by their nationality, rather than under this parent category. NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐6jf8z Cached time: 20240721023046 Cache expiry: 2592000 Reduced expiry: false Complications: [] CPU time usage: 0.040 seconds Real time usage: 0.060 seconds Preprocessor visited node count: 126/1000000 Post‐expand include size: 2533/2097152 bytes Template argument size: 338/2097152 bytes Highest expansion depth: 13/100 Expensive parser function count: 0/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 1202/5000000 bytes Lua time usage: 0.023/10.000 seconds Lua memory usage: 946166/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 55.368 1 Template:Commons_category 100.00% 55.368 1 -total 97.26% 53.851 1 Template:Sister_project 94.90% 52.546 1 Template:Side_box 7.92% 4.385 1 Template:Replace Saved in parser cache with key enwiki:pcache:idhash:892433-0!canonical and timestamp 20240721023046 and revision id 1087453094. Rendering was triggered because: page-view Subcategories This category has the following 12 subcategories, out of 12 total. Fashion designers by nationality (/wiki/Category:Fashion_designers_by_nationality) ‎ (107 C) Fashion designers by type (/wiki/Category:Fashion_designers_by_type) ‎ (7 C) * Fictional fashion designers (/wiki/Category:Fictional_fashion_designers) ‎ (26 P) + LGBT fashion designers (/wiki/Category:LGBT_fashion_designers) ‎ (1 C, 245 P) Indigenous fashion designers of the Americas (/wiki/Category:Indigenous_fashion_designers_of_the_Americas) ‎ (39 P) Women fashion designers (/wiki/Category:Women_fashion_designers) ‎ (2 C, 11 P) A Lists of awards received by fashion designer (/wiki/Category:Lists_of_awards_received_by_fashion_designer) ‎ (3 P) C Cultural depictions of fashion designers (/wiki/Category:Cultural_depictions_of_fashion_designers) ‎ (2 C, 3 P) F Films about fashion designers (/wiki/Category:Films_about_fashion_designers) ‎ (2 C, 28 P) J Jewish fashion designers (/wiki/Category:Jewish_fashion_designers) ‎ (98 P) Y Yoruba fashion designers (/wiki/Category:Yoruba_fashion_designers) ‎ (3 P) Σ Fashion designer stubs (/wiki/Category:Fashion_designer_stubs) ‎ (138 P) Pages in category "Fashion designers" The following 4 pages are in this category, out of 4 total. This list may not reflect recent changes (/wiki/Wikipedia:FAQ/Categorization#Why_might_a_category_list_not_be_up_to_date?) . Couturier (/wiki/Couturier) List of fashion designers (/wiki/List_of_fashion_designers) A Rami Al Ali (/wiki/Rami_Al_Ali) M Matthew Gallagher (/wiki/Matthew_Gallagher) esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Category:Fashion_designers&oldid=1087453094 (https://en.wikipedia.org/w/index.php?title=Category:Fashion_designers&oldid=1087453094) " Categories (/wiki/Help:Category) : Designers (/wiki/Category:Designers) Fashion design (/wiki/Category:Fashion_design) Fashion occupations (/wiki/Category:Fashion_occupations) People in fashion (/wiki/Category:People_in_fashion) Hidden category: Commons category link is on Wikidata (/wiki/Category:Commons_category_link_is_on_Wikidata)
Belgian fashion designer Tim Coppens Born Lokeren (/wiki/Lokeren) , Belgium (/wiki/Belgium) Nationality Belgian (/wiki/Belgium) Label Tim Coppens Website timcoppens.com (https://www.timcoppens.com/) Tim Coppens is a Belgian (/wiki/Belgian_people) fashion designer (/wiki/Fashion_designer) who currently lives and works in New York City (/wiki/New_York_City) . He is an ANDAM (/wiki/ANDAM) [1] (#cite_note-1) and LVMH Prize (/w/index.php?title=LVMH_Prize&action=edit&redlink=1) finalist, [2] (#cite_note-2) as well as three time CFDA (/wiki/Council_of_Fashion_Designers_of_America) nominee, and winner of the 2014 CFDA/Swarovski Award for Best Emerging Menswear Designer. [ citation needed ] Career [ edit ] Born and raised in Belgium, Tim Coppens graduated from the Royal Academy of Fine Arts (/wiki/Royal_Academy_of_Fine_Arts_(Antwerp)) in Antwerp (/wiki/Antwerp) in 1998. Apart from his services to various luxury and athletic brands as Adidas (/wiki/Adidas) and Ralph Lauren (/wiki/Ralph_Lauren) , Coppens founded his own namesake fashion label in 2011 which is sold globally. Barneys New York (/wiki/Barneys_New_York) immediately ordered his first collection and international retailers suit, including Isetan (/wiki/Isetan) (Japan), Lane Crawford (/wiki/Lane_Crawford) (Hong Kong), Matches (London), Mr Porter (Online) and Dover Street Market (/wiki/Dover_Street_Market) (London). [3] (#cite_note-3) [4] (#cite_note-4) References [ edit ] ^ (#cite_ref-1) Kristin Anderson, ANDAM Award’s 2016 Nominees (https://www.vogue.com/article/andam-awards-prize-2016-nominees) Vogue, May 19, 2016 ^ (#cite_ref-2) Jean E. Palmieri, LVMH Prize Finalist: Tim Coppens (http://wwd.com/fashion-news/designer-luxury/lvmh-prize-finalist-tim-coppens-7614797/) Women’s Wear Daily (/wiki/Women%E2%80%99s_Wear_Daily) , March 26, 2014 ^ (#cite_ref-3) Fall 2016’s Top 10 Men’s Collections (http://wwd.com/menswear-news/mens-fashion/fall-2016-top-mens-collections-prada-gucci-mcqueen-vuitton-10395823/) Women’s Wear Daily, March 23, 2016 ^ (#cite_ref-4) Stephen Heyman, "Tech Support" (http://tmagazine.blogs.nytimes.com/2011/09/05/tech-support/) New York Times (/wiki/New_York_Times) , September 5, 2011 NewPP limit report Parsed by mw‐web.eqiad.main‐8645764cd7‐s2nwv Cached time: 20240713222121 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1] CPU time usage: 0.209 seconds Real time usage: 0.327 seconds Preprocessor visited node count: 1715/1000000 Post‐expand include size: 5652/2097152 bytes Template argument size: 1322/2097152 bytes Highest expansion depth: 12/100 Expensive parser function count: 1/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 4298/5000000 bytes Lua time usage: 0.104/10.000 seconds Lua memory usage: 3114386/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 311.837 1 -total 46.00% 143.431 1 Template:Infobox_fashion_designer 26.81% 83.611 1 Template:Short_description 15.08% 47.013 2 Template:Pagetype 14.76% 46.034 1 Template:Cn 13.06% 40.714 17 Template:Main_other 12.47% 38.875 1 Template:Fix 9.94% 30.991 1 Template:Wikidata_image 8.65% 26.969 2 Template:Category_handler 8.11% 25.299 20 Template:Pluralize_from_text Saved in parser cache with key enwiki:pcache:idhash:55539571-0!canonical and timestamp 20240713222121 and revision id 1155463546. Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Tim_Coppens&oldid=1155463546 (https://en.wikipedia.org/w/index.php?title=Tim_Coppens&oldid=1155463546) " Categories (/wiki/Help:Category) : Living people (/wiki/Category:Living_people) Royal Academy of Fine Arts (Antwerp) alumni (/wiki/Category:Royal_Academy_of_Fine_Arts_(Antwerp)_alumni) Belgian fashion designers (/wiki/Category:Belgian_fashion_designers) Hidden categories: Articles with short description (/wiki/Category:Articles_with_short_description) Short description matches Wikidata (/wiki/Category:Short_description_matches_Wikidata) Articles with hCards (/wiki/Category:Articles_with_hCards) All articles with unsourced statements (/wiki/Category:All_articles_with_unsourced_statements) Articles with unsourced statements from May 2023 (/wiki/Category:Articles_with_unsourced_statements_from_May_2023) Year of birth missing (living people) (/wiki/Category:Year_of_birth_missing_(living_people))
American fashion designer Anthony Rubio Born New York City, United States (/wiki/New_York_City) Nationality American Occupation Fashion designer (/wiki/Fashion_design) Years active 2005-present Anthony Rubio is an American fashion designer, best known for creating costumes for dogs (/wiki/Dog_fashion) . [1] (#cite_note-1) [2] (#cite_note-2) His designs have been exhibited at events like New York (/wiki/New_York_Fashion_Week) and Los Angeles Fashion Weeks (/wiki/Los_Angeles_Fashion_Week) , and have appeared in magazines like Vogue (/wiki/Vogue_(magazine)) , Cosmopolitan (/wiki/Cosmopolitan_(magazine)) , Vanity Fair (/wiki/Vanity_Fair_(magazine)) , Harper's Bazaar (/wiki/Harper%27s_Bazaar) and Elle (/wiki/Elle_(magazine)) . [3] (#cite_note-:0-3) Biography [ edit ] Early life and career [ edit ] Rubio, of Puerto Rican (/wiki/Puerto_Ricans) descent, was born and raised in New York City (/wiki/New_York_City) . [4] (#cite_note-4) He became interested in women's fashion as a child, so he studied fashion design (/wiki/Fashion_design) . After rescuing a chained Chihuahua (/wiki/Chihuahua_(dog)) in 2005, he began creating costumes for dogs, an activity for which he is most recognized today. [3] (#cite_note-:0-3) [5] (#cite_note-:1-5) In 2012 he became the first canine designer to exhibit his work at the New York Fashion Week (/wiki/New_York_Fashion_Week) . [3] (#cite_note-:0-3) [5] (#cite_note-:1-5) A year later he participated in the Brooklyn Fashion Week, another event that had never featured designs exclusively for dogs. [6] (#cite_note-6) He has also participated in other major events such as the Met Gala (/wiki/Met_Gala) (where he paid tribute to designer Rei Kawakubo (/wiki/Rei_Kawakubo) ) [7] (#cite_note-7) and Los Angeles Fashion Week (/wiki/Los_Angeles_Fashion_Week) . [8] (#cite_note-8) In 2021 he participated again in the NY Fashion Week, where he was supported by Polish model Joanna Borov (/wiki/Joanna_Borov) . [9] (#cite_note-9) His designs have appeared in specialized magazines like Vogue (/wiki/Vogue_(magazine)) , [10] (#cite_note-10) Cosmopolitan (/wiki/Cosmopolitan_(magazine)) , [11] (#cite_note-11) Vanity Fair (/wiki/Vanity_Fair_(magazine)) , [12] (#cite_note-12) Harper's Bazaar (/wiki/Harper%27s_Bazaar) , [13] (#cite_note-13) Marie Claire (/wiki/Marie_Claire) and Elle (/wiki/Elle_(magazine)) ; [14] (#cite_note-14) and he has given interviews on TV shows like Good Morning America (/wiki/Good_Morning_America) , Page Six TV (/wiki/New_York_Post) , Vice Live , To Tell the Truth (/wiki/To_Tell_the_Truth) and The Pet Show (/wiki/Warren_Eckstein) . [3] (#cite_note-:0-3) Other projects [ edit ] Rubio supports dog adoption and has donated to shelters and other projects related to the protection of homeless animals. [15] (#cite_note-15) In 2012 he created the Adopt Me Maybe campaign inspired by the song " Call Me Maybe (/wiki/Call_Me_Maybe) " by Carly Rae Jepsen (/wiki/Carly_Rae_Jepsen) , which went viral through social networks (/wiki/List_of_social_networking_services) . [16] (#cite_note-16) He designed most of the costumes that appear in the book Couture Dogs of New York , by author Paul Nathan. [3] (#cite_note-:0-3) In addition to his canine designs, Rubio also designs haute couture (/wiki/Haute_couture) for women and ties for men. [17] (#cite_note-17) References [ edit ] ^ (#cite_ref-1) "Take a look at what the most fashionable pets are wearing these days" (https://www.latimes.com/style/pets/la-hm-pets-fashion-20170827-htmlstory.html) . Los Angeles Times . 2017-08-27 . Retrieved 2021-09-14 . ^ (#cite_ref-2) Vora, Shivani (2017-09-08). "New York Today" (https://www.nytimes.com/2017/09/08/nyregion/new-york-today-rafael-nadals-new-york.html) . The New York Times . ISSN (/wiki/ISSN_(identifier)) 0362-4331 (https://www.worldcat.org/issn/0362-4331) . Retrieved 2021-09-14 . ^ a b c d e "About" (https://anthonyrubiodesigns.com/about-2/) . Anthony Rubio Designs . 2013-01-07 . Retrieved 2021-09-14 . ^ (#cite_ref-4) "Anthony Rubio Designs New York Fashion Week" (https://fashionweekonline.com/anthony-rubio-designs-new-york-fashion-week-fw-2021) . Fashion Week Online . 2021-02-15 . Retrieved 2021-09-14 . ^ a b Jensen, Alaina (2019-09-08). "The Top Dogs of New York Fashion Week, in Anthony Rubio's Stunning 'Canine Couture' (https://www.thedailybeast.com/the-top-dogs-of-new-york-fashion-week-in-anthony-rubios-stunning-canine-couture) " (https://www.thedailybeast.com/the-top-dogs-of-new-york-fashion-week-in-anthony-rubios-stunning-canine-couture) . The Daily Beast . Retrieved 2021-09-14 . ^ (#cite_ref-6) "A Glimpse Into the World of Dog Couture" (https://time.com/3802002/a-glimpse-into-the-world-of-dog-couture/) . Time . Retrieved 2021-09-13 . ^ (#cite_ref-7) Saroli, Veronica (2017-05-02). "Stop Everything: Dogs Are Wearing Comme des Garçons" (https://thekit.ca/style/comme-des-garcons-dog-couture/) . The Kit . Retrieved 2021-09-13 . ^ (#cite_ref-8) "Model Joanna Borov Returns to the Runway with Anthony Rubio in LA Fashion Week" (https://fashionweekonline.com/model-joanna-borov-returns-to-the-runway-with-anthony-rubio-in-la) . Fashion Week Online . 2021-07-01 . Retrieved 2021-09-14 . ^ (#cite_ref-9) "Anthony Rubio \| Spring Summer 2022" (https://www.youtube.com/watch?v=ys4VQtCN4Us) . FF Channel . Retrieved 2021-09-14 . ^ (#cite_ref-10) "Anthony Rubio" (https://www.vogue.it/en/fashion/trends/2016/06/20/anthony-rubio-master-pet-couturier/) . Vogue.it . 2016-06-20 . Retrieved 2021-09-14 . ^ (#cite_ref-11) Wall, Natalie (2014-01-06). "So, Dog Vogue is brilliant" (http://www.cosmopolitan.co.uk/fashion/news/dog-vogue-chihuahuas-fashion) . Cosmopolitan . Retrieved 2021-09-14 . ^ (#cite_ref-12) "11 cose che forse vi siete persi della New York Fashion Week" (https://www.vanityfair.it/fashion/news-fashion/2019/09/12/new-york-fashion-week-primavera-estate-2019-sfilate) . VanityFair.it (in Italian). 2019-09-12 . Retrieved 2021-09-14 . ^ (#cite_ref-13) Fisher, Lauren Alexis (2017-05-01). "A Couple of Chihuahuas Just Set The Bar High For Tonight's Met Gala Red Carpet" (https://www.harpersbazaar.com/celebrity/red-carpet-dresses/a9586741/chihuahuas-rei-kawakubo-met-gala-fashion/) . Harper's BAZAAR . Retrieved 2021-09-14 . ^ (#cite_ref-14) "Anthony Rubio Women's Wear & Canine Couture" (https://fashionweekonline.com/event/anthony-rubio-womens-wear-canine-couture) . Fashion Week Online . 4 September 2020 . Retrieved 2021-09-14 . ^ (#cite_ref-15) " (https://www.eldoradonews.com/news/2016/nov/13/master-pet-couturier-donates-clothing-ucaps-union-/) 'Master Pet Couturier' donates clothing to UCAPS for Union County shelter dogs" (https://www.eldoradonews.com/news/2016/nov/13/master-pet-couturier-donates-clothing-ucaps-union-/) . El Dorado News Times . 2016-11-13 . Retrieved 2021-09-13 . ^ (#cite_ref-16) Seymour, Kristen. "Adopt Me, Maybe Shelter Pet Campaign Goes Viral" (https://web.archive.org/web/20210914004717/http://www.vetstreet.com/our-pet-experts/adopt-me-maybe-pet-campaign-goes-viral) . Vetstreet . Archived from the original (http://www.vetstreet.com/our-pet-experts/adopt-me-maybe-pet-campaign-goes-viral) on 2021-09-14 . Retrieved 2021-09-14 . ^ (#cite_ref-17) "Anthony Rubio Designs - Dog Fashion" (https://anthonyrubiodesigns.com/) . Anthony Rubio Designs . Retrieved 2021-09-14 . 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Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Anthony_Rubio&oldid=1193244710 (https://en.wikipedia.org/w/index.php?title=Anthony_Rubio&oldid=1193244710) " Categories (/wiki/Help:Category) : 20th-century births (/wiki/Category:20th-century_births) American fashion designers (/wiki/Category:American_fashion_designers) Designers from New York City (/wiki/Category:Designers_from_New_York_City) American people of Puerto Rican descent (/wiki/Category:American_people_of_Puerto_Rican_descent) Living people (/wiki/Category:Living_people) Hidden categories: CS1 Italian-language sources (it) (/wiki/Category:CS1_Italian-language_sources_(it)) Articles with short description (/wiki/Category:Articles_with_short_description) Short description matches Wikidata (/wiki/Category:Short_description_matches_Wikidata) Articles with hCards (/wiki/Category:Articles_with_hCards) Official website not in Wikidata (/wiki/Category:Official_website_not_in_Wikidata)
Former shopping arcade in London, England Watercolour from the 19th century by Thomas Hosmer Shepherd (/wiki/Thomas_Hosmer_Shepherd) , after an old drawing. Britain's Bourse , also known as the New Exchange , was a shopping arcade located on the Strand, London (/wiki/Strand,_London) opened by James I (/wiki/James_VI_and_I) in 1609. [1] (#cite_note-1) [2] (#cite_note-Tudor_telescope-2) [3] (#cite_note-3) It was demolished in 1737. [4] (#cite_note-RENE-4) History [ edit ] Inigo Jones (/wiki/Inigo_Jones) submitted a design, but these were not used. It was built by Sir Robert Cecil, 1st Earl of Salisbury (/wiki/Robert_Cecil,_1st_Earl_of_Salisbury) . Building commenced on 10 June 1608. The site had previously been occupied by the stables of Durham House (/wiki/Durham_House,_London) , now 52 to 64 Strand. [5] (#cite_note-KYL-5) The building was briefly known as the Salisbury Exchange, but was renamed when James I opened the building on 11 April 1609. [2] (#cite_note-Tudor_telescope-2) He was accompanied by his queen, Anne of Denmark (/wiki/Anne_of_Denmark) , his son, later Charles I of England (/wiki/Charles_I_of_England) and daughter Elizabeth, later Queen of Bohemia (/wiki/Elizabeth_Stuart,_Queen_of_Bohemia) . [6] (#cite_note-Percy-6) The opening included a theatrical production by Ben Jonson (/wiki/Ben_Jonson) , The Entertainment at Britain's Burse (/wiki/The_Entertainment_at_Britain%27s_Burse) . [7] (#cite_note-7) It primarily catered for women providing not only fashionable clothes and millinery, but also ornaments and items of furniture. However it also included several bookshops. [4] (#cite_note-RENE-4) Along with the Royal Exchange (/wiki/Royal_Exchange,_London) it provided one of the major shopping centres in London, particularly after the Fire of London (/wiki/Fire_of_London) . [4] (#cite_note-RENE-4) Cosimo III de' Medici, Grand Duke of Tuscany (/wiki/Cosimo_III_de%27_Medici,_Grand_Duke_of_Tuscany) visited the premises during his visit to England in 1669 and described the building: "The building has a facade of stone, built after the Gothic style, which has lost its colour from age and become blackish. It contains two long and double galleries, one above the other, in which are distributed in several rows great numbers of very rich shops of drapers and mercers filled with goods of every kind, and with manufactures of the most beautiful description. These are for the most part under the care of well-dressed women, who are busily employed in work, although many are served by young men called apprentices." [4] (#cite_note-RENE-4) References [ edit ] ^ (#cite_ref-1) Weale, John (1854). Pictorial Handbook of London: Comprising Its Antiquities, Architecture, Arts, Manufacture, Trade, Social, Literary, and Scientific Institutions, Exhibitions, and Galleries of Art : Together with Some Account of the Principal Suburbs and Most Attractive Localities . London: H.G. Bohn (/wiki/Henry_George_Bohn) . pp. 366-377 [1] (https://books.google.com/books?id=b_ZHAQAAIAAJ&dq=Britain%27s+Bourse&pg=PA366) . ^ a b Boehm, Wholelotof (6 January 2018). "Britain's Bourse" (http://tudortelescope.blogspot.com/2018/01/britains-bourse.html) . Backwards Through a Tudor Telescope . Retrieved 28 April 2018 . ^ (#cite_ref-3) Higgins, S. 2017. Britain’s Bourse: cultural and literary exchanges between England and the Low Countries in the early modern era (c. 1580-1620) (https://cora.ucc.ie/bitstream/handle/10468/5107/BRITAINS%20BOURSE%202017.pdf) . PhD Thesis, University College Cork. ^ a b c d "The Royal Exchange and the New Exchange" (https://instruct.uwo.ca/english/234e/site/bckgrnds/maps/lndnmpexchng.html) . instruct.uwo.ca . Western Technology Services . Retrieved 29 April 2018 . ^ (#cite_ref-KYL_5-0) Prockter, Adrian (18 January 2016). "Exchange Court, Strand" (https://knowyourlondon.wordpress.com/2016/01/18/exchange-court-strand/) . Know Your London . Retrieved 29 April 2018 . ^ (#cite_ref-Percy_6-0) Percy, Sholto (1822). "Fashion" (https://books.google.com/books?id=rlVPAQAAMAAJ&q=%22Britain%27s+Bourse%22&pg=PA129) . T. Boys . Retrieved 29 April 2018 . ^ (#cite_ref-7) The Entertainment at Britain’s Burse , Cambridge Edition of Ben Jonson (https://universitypublishingonline.org/cambridge/benjonson/k/works/burse/facing/#) WikiMiniAtlas 51°30′34.57″N 0°7′22.55″W / 51.5096028°N 0.1229306°W / 51.5096028; -0.1229306 This article about a London building or structure is a stub (/wiki/Wikipedia:Stub) . 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Fictional socialites (/wiki/Socialite) , persons, usually from a wealthy and aristocratic (/wiki/Aristocratic) background, who play a prominent role in and are very frequently involved in high society (/wiki/High_society_(social_class)) . A socialite generally spends a significant amount of time attending various fashionable social gatherings, often to the detriment of traditional employment. Contents Top (https://en.wikipedia.org/wiki/Category:Fictional_socialites) 0–9 (https://en.wikipedia.org/w/index.php?title=Category:Fictional_socialites&from=0) A (https://en.wikipedia.org/w/index.php?title=Category:Fictional_socialites&from=A) B (https://en.wikipedia.org/w/index.php?title=Category:Fictional_socialites&from=B) C (https://en.wikipedia.org/w/index.php?title=Category:Fictional_socialites&from=C) D (https://en.wikipedia.org/w/index.php?title=Category:Fictional_socialites&from=D) E (https://en.wikipedia.org/w/index.php?title=Category:Fictional_socialites&from=E) F (https://en.wikipedia.org/w/index.php?title=Category:Fictional_socialites&from=F) G (https://en.wikipedia.org/w/index.php?title=Category:Fictional_socialites&from=G) H (https://en.wikipedia.org/w/index.php?title=Category:Fictional_socialites&from=H) I (https://en.wikipedia.org/w/index.php?title=Category:Fictional_socialites&from=I) J (https://en.wikipedia.org/w/index.php?title=Category:Fictional_socialites&from=J) K (https://en.wikipedia.org/w/index.php?title=Category:Fictional_socialites&from=K) L (https://en.wikipedia.org/w/index.php?title=Category:Fictional_socialites&from=L) M (https://en.wikipedia.org/w/index.php?title=Category:Fictional_socialites&from=M) N (https://en.wikipedia.org/w/index.php?title=Category:Fictional_socialites&from=N) O (https://en.wikipedia.org/w/index.php?title=Category:Fictional_socialites&from=O) P (https://en.wikipedia.org/w/index.php?title=Category:Fictional_socialites&from=P) Q (https://en.wikipedia.org/w/index.php?title=Category:Fictional_socialites&from=Q) R (https://en.wikipedia.org/w/index.php?title=Category:Fictional_socialites&from=R) S (https://en.wikipedia.org/w/index.php?title=Category:Fictional_socialites&from=S) T (https://en.wikipedia.org/w/index.php?title=Category:Fictional_socialites&from=T) U (https://en.wikipedia.org/w/index.php?title=Category:Fictional_socialites&from=U) V (https://en.wikipedia.org/w/index.php?title=Category:Fictional_socialites&from=V) W (https://en.wikipedia.org/w/index.php?title=Category:Fictional_socialites&from=W) X (https://en.wikipedia.org/w/index.php?title=Category:Fictional_socialites&from=X) Y (https://en.wikipedia.org/w/index.php?title=Category:Fictional_socialites&from=Y) Z (https://en.wikipedia.org/w/index.php?title=Category:Fictional_socialites&from=Z) NewPP limit report Parsed by mw‐web.eqiad.main‐57d74c944b‐zns9c Cached time: 20240721134131 Cache expiry: 2592000 Reduced expiry: false Complications: [no‐toc] CPU time usage: 0.071 seconds Real time usage: 0.163 seconds Preprocessor visited node count: 309/1000000 Post‐expand include size: 25776/2097152 bytes Template argument size: 2964/2097152 bytes Highest expansion depth: 20/100 Expensive parser function count: 1/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 3099/5000000 bytes Lua time usage: 0.002/10.000 seconds Lua memory usage: 556202/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 78.331 1 -total 100.00% 78.331 1 Template:CatAutoTOC 97.12% 76.072 2 Template:Category_other 92.77% 72.667 1 Template:Automatic_category_TOC/core 71.01% 55.621 1 Template:Category_TOC 59.72% 46.781 1 Template:TOC_top 44.85% 35.129 1 Template:Flatlist 3.65% 2.861 1 Template:TOC_bottom 2.30% 1.801 1 Template:Category_TOC/tracking 1.81% 1.416 1 MediaWiki:Toc Saved in parser cache with key enwiki:pcache:idhash:2171123-0!canonical and timestamp 20240721134131 and revision id 1190749560. Rendering was triggered because: page-view Subcategories This category has only the following subcategory. C Fictional courtesans (/wiki/Category:Fictional_courtesans) ‎ (9 P) Pages in category "Fictional socialites" The following 199 pages are in this category, out of 199 total. This list may not reflect recent changes (/wiki/Wikipedia:FAQ/Categorization#Why_might_a_category_list_not_be_up_to_date?) . A Ashley Abbott (/wiki/Ashley_Abbott) Billy Abbott (/wiki/Billy_Abbott) Jack Abbott (The Young and the Restless) (/wiki/Jack_Abbott_(The_Young_and_the_Restless)) Kyle Abbott (The Young and the Restless) (/wiki/Kyle_Abbott_(The_Young_and_the_Restless)) Gomez Addams (/wiki/Gomez_Addams) Tahani Al-Jamil (The Good Place character) (/wiki/Tahani_Al-Jamil_(The_Good_Place_character)) Vivian Alamain (/wiki/Vivian_Alamain) Clarissa von Anstetten (/wiki/Clarissa_von_Anstetten) Nate Archibald (Gossip Girl) (/wiki/Nate_Archibald_(Gossip_Girl)) List of Atlas Shrugged characters (/wiki/List_of_Atlas_Shrugged_characters) Ezio Auditore da Firenze (/wiki/Ezio_Auditore_da_Firenze) Maya Avant (/wiki/Maya_Avant) B Amanda Banshee (/wiki/Amanda_Banshee) Chuck Bass (/wiki/Chuck_Bass) Patrick Bateman (/wiki/Patrick_Bateman) Batman (/wiki/Batman) Toph Beifong (/wiki/Toph_Beifong) Elizabeth Bennet (/wiki/Elizabeth_Bennet) Matthew Berger (character) (/wiki/Matthew_Berger_(character)) Claudia Blaisdel Carrington (/wiki/Claudia_Blaisdel_Carrington) Daphne Blake (/wiki/Daphne_Blake) Tracy Bond (/wiki/Tracy_Bond) Lucifer Box (/wiki/Lucifer_Box) Carrie Bradshaw (/wiki/Carrie_Bradshaw) Daisy Buchanan (/wiki/Daisy_Buchanan) Bulma (/wiki/Bulma) Rhett Butler (/wiki/Rhett_Butler) C Isidoro Cañones (/wiki/Isidoro_Ca%C3%B1ones) Amanda Carrington (/wiki/Amanda_Carrington) Fallon Carrington (/wiki/Fallon_Carrington) Krystle Carrington (/wiki/Krystle_Carrington) Catwoman (/wiki/Catwoman) Chai Jin (/wiki/Chai_Jin) Katherine Chancellor (/wiki/Katherine_Chancellor) Adam Chandler (/wiki/Adam_Chandler) JR Chandler (/wiki/JR_Chandler) Chanel Oberlin (/wiki/Chanel_Oberlin) Cheetah (character) (/wiki/Cheetah_(character)) Naomi Clark (/wiki/Naomi_Clark) Kirsten Cohen (/wiki/Kirsten_Cohen) Alexis Colby (/wiki/Alexis_Colby) Monica Colby (/wiki/Monica_Colby) Sable Colby (/wiki/Sable_Colby) Buddy Cole (character) (/wiki/Buddy_Cole_(character)) Marissa Cooper (/wiki/Marissa_Cooper) Mrs. Coulter (/wiki/Mrs._Coulter) Julian Crane (/wiki/Julian_Crane) Sheridan Crane (/wiki/Sheridan_Crane) Lady Penelope Creighton-Ward (/wiki/Lady_Penelope_Creighton-Ward) Carland Cross (character) (/wiki/Carland_Cross_(character)) D Daphne Reynolds Dashwood (/wiki/Daphne_Reynolds_Dashwood) Brooke Davis (One Tree Hill) (/wiki/Brooke_Davis_(One_Tree_Hill)) Paulina de la Mora (/wiki/Paulina_de_la_Mora) Dominique Deveraux (/wiki/Dominique_Deveraux) Clare Devine (/wiki/Clare_Devine) Sue Dibny (/wiki/Sue_Dibny) Ivy Dickens (/wiki/Ivy_Dickens) Eliza Doolittle (/wiki/Eliza_Doolittle) Hugo Drax (/wiki/Hugo_Drax) Blanche DuBois (/wiki/Blanche_DuBois) Renée DiMera (/wiki/Ren%C3%A9e_DiMera) E Estella (Great Expectations) (/wiki/Estella_(Great_Expectations)) Ann Ewing (Dallas) (/wiki/Ann_Ewing_(Dallas)) Miss Ellie Ewing (/wiki/Miss_Ellie_Ewing) Sue Ellen Ewing (/wiki/Sue_Ellen_Ewing) F Derek Flint (/wiki/Derek_Flint) Thomas Forrester (/wiki/Thomas_Forrester) Artemis Fowl II (/wiki/Artemis_Fowl_II) Adrienne Frost (/wiki/Adrienne_Frost) G Jay Gatsby (/wiki/Jay_Gatsby) Gordon Gekko (/wiki/Gordon_Gekko) Emily Gilmore (/wiki/Emily_Gilmore) Godiva (comics) (/wiki/Godiva_(comics)) Helen Graham (The Tenant of Wildfell Hall) (/wiki/Helen_Graham_(The_Tenant_of_Wildfell_Hall)) Victoria Grayson (/wiki/Victoria_Grayson) H Elvira Hancock (/wiki/Elvira_Hancock) Gwendolen Harleth (/wiki/Gwendolen_Harleth) Lucy Heartfilia (/wiki/Lucy_Heartfilia) Suneo Honekawa (/wiki/Suneo_Honekawa) Lovey Howell (/wiki/Lovey_Howell) Thurston Howell III (/wiki/Thurston_Howell_III) Jenny Humphrey (/wiki/Jenny_Humphrey) Hush (character) (/wiki/Hush_(character)) Vienna Hyatt (/wiki/Vienna_Hyatt) I Iron Man (/wiki/Iron_Man) Iron Man (Ultimate Marvel character) (/wiki/Iron_Man_(Ultimate_Marvel_character)) J Jeannette (comics) (/wiki/Jeannette_(comics)) Samantha Jones (Sex and the City) (/wiki/Samantha_Jones_(Sex_and_the_City)) K Erica Kane (/wiki/Erica_Kane) Kate Kane (/wiki/Kate_Kane) Elektra King (/wiki/Elektra_King) L Lady Luck (comics) (/wiki/Lady_Luck_(comics)) Larry Laffer (/wiki/Larry_Laffer) Tanja von Lahnstein (/wiki/Tanja_von_Lahnstein) Margo Lane (/wiki/Margo_Lane) Hannibal Lecter (/wiki/Hannibal_Lecter) Dolly Gallagher Levi (/wiki/Dolly_Gallagher_Levi) Lillie (Pokémon) (/wiki/Lillie_(Pok%C3%A9mon)) Hiram Lodge (/wiki/Hiram_Lodge) Veronica Lodge (/wiki/Veronica_Lodge) Ava Lord (/wiki/Ava_Lord) Dorian Lord (/wiki/Dorian_Lord) Meredith Lord (/wiki/Meredith_Lord) Tina Lord (/wiki/Tina_Lord) Victoria Lord (/wiki/Victoria_Lord) Lex Luthor (DC Extended Universe) (/wiki/Lex_Luthor_(DC_Extended_Universe)) Lionel Luthor (/wiki/Lionel_Luthor) M Madam Fatal (/wiki/Madam_Fatal) Julie Madison (/wiki/Julie_Madison) Jack Manning (One Life to Live) (/wiki/Jack_Manning_(One_Life_to_Live)) Elaine Marley (/wiki/Elaine_Marley) Ken Masters (/wiki/Ken_Masters) Alexis Meade (/wiki/Alexis_Meade) Bradford Meade (/wiki/Bradford_Meade) Claire Meade (/wiki/Claire_Meade) Daniel Meade (/wiki/Daniel_Meade) Merovingian (The Matrix) (/wiki/Merovingian_(The_Matrix)) Kathryn Merteuil (/wiki/Kathryn_Merteuil) Mrs. Miniver (character) (/wiki/Mrs._Miniver_(character)) Miss Fury (/wiki/Miss_Fury) Edina Monsoon (/wiki/Edina_Monsoon) Jason Morgan (General Hospital) (/wiki/Jason_Morgan_(General_Hospital)) Lucifer Morningstar (Lucifer) (/wiki/Lucifer_Morningstar_(Lucifer)) Elise Moxley (/wiki/Elise_Moxley) N Abby Newman (/wiki/Abby_Newman) Cassie Newman (/wiki/Cassie_Newman) Nicholas Newman (/wiki/Nicholas_Newman) Nikki Newman (/wiki/Nikki_Newman) Noah Newman (/wiki/Noah_Newman) Summer Newman (/wiki/Summer_Newman) Victoria Newman (/wiki/Victoria_Newman) O Scarlett O'Hara (/wiki/Scarlett_O%27Hara) Harry Osborn (Sam Raimi film series) (/wiki/Harry_Osborn_(Sam_Raimi_film_series)) Norman Osborn (Sam Raimi film series) (/wiki/Norman_Osborn_(Sam_Raimi_film_series)) P Benjamín Pardo (/wiki/Benjam%C3%ADn_Pardo) Mrs. Peacock (/wiki/Mrs._Peacock) Mickey Pearson (/wiki/Mickey_Pearson) Penguin (character) (/wiki/Penguin_(character)) Renee Perry (/wiki/Renee_Perry) Persephone (The Matrix) (/wiki/Persephone_(The_Matrix)) The Phantom Detective (/wiki/The_Phantom_Detective) Q A. J. Quartermaine (/wiki/A._J._Quartermaine) Edward Quartermaine (/wiki/Edward_Quartermaine) Monica Quartermaine (/wiki/Monica_Quartermaine) Tracy Quartermaine (/wiki/Tracy_Quartermaine) Oliver Queen (Arrowverse) (/wiki/Oliver_Queen_(Arrowverse)) Thea Queen (/wiki/Thea_Queen) R Reaper (DC Comics) (/wiki/Reaper_(DC_Comics)) Lillian Rearden (/wiki/Lillian_Rearden) Madeline Reeves (/wiki/Madeline_Reeves) Lola Rhodes (/wiki/Lola_Rhodes) Kate Roberts (Days of Our Lives) (/wiki/Kate_Roberts_(Days_of_Our_Lives)) Summer Roberts (/wiki/Summer_Roberts) Alexis Rose (/wiki/Alexis_Rose) S Sandman (Wesley Dodds) (/wiki/Sandman_(Wesley_Dodds)) The Shadow (/wiki/The_Shadow) Becky Sharp (/wiki/Becky_Sharp) Juliet Sharp (/wiki/Juliet_Sharp) Skein (character) (/wiki/Skein_(character)) Skullfire (/wiki/Skullfire) Wilhelmina Slater (/wiki/Wilhelmina_Slater) Greenlee Smythe (/wiki/Greenlee_Smythe) Georgina Sparks (/wiki/Georgina_Sparks) Alexandra Spaulding (/wiki/Alexandra_Spaulding) Silver St. Cloud (/wiki/Silver_St._Cloud) Tony Stark (Marvel Cinematic Universe) (/wiki/Tony_Stark_(Marvel_Cinematic_Universe)) Steerpike (/wiki/Steerpike) Patsy Stone (/wiki/Patsy_Stone) Elizabeth Swann (/wiki/Elizabeth_Swann) T Terrible Trio (/wiki/Terrible_Trio) Emily Thorne (/wiki/Emily_Thorne) London Tipton (/wiki/London_Tipton) Johny Tolengo, el majestuoso (/wiki/Johny_Tolengo,_el_majestuoso) Zari Tomaz and Zari Tarazi (/wiki/Zari_Tomaz_and_Zari_Tarazi) Taylor Townsend (The O.C.) (/wiki/Taylor_Townsend_(The_O.C.)) Lady Tremaine (/wiki/Lady_Tremaine) Trunks (Dragon Ball) (/wiki/Trunks_(Dragon_Ball)) Cheryl Tunt (/wiki/Cheryl_Tunt) Tanya Turner (/wiki/Tanya_Turner) V Cruella de Vil (/wiki/Cruella_de_Vil) W Blair Waldorf (/wiki/Blair_Waldorf) Karen Walker (Will & Grace) (/wiki/Karen_Walker_(Will_%26_Grace)) Mia Wallace (/wiki/Mia_Wallace) Bruce Wayne (Dark Knight trilogy) (/wiki/Bruce_Wayne_(Dark_Knight_trilogy)) Bruce Wayne (DC Extended Universe) (/wiki/Bruce_Wayne_(DC_Extended_Universe)) Bruce Wayne (1989 film series character) (/wiki/Bruce_Wayne_(1989_film_series_character)) Bruce Wayne (Gotham) (/wiki/Bruce_Wayne_(Gotham)) Martha Wayne (/wiki/Martha_Wayne) Batman (Thomas Wayne) (/wiki/Batman_(Thomas_Wayne)) Thomas Wayne (/wiki/Thomas_Wayne) Lucy Westenra (/wiki/Lucy_Westenra) Iris Wheeler (/wiki/Iris_Wheeler) Jacqueline White (Unbreakable Kimmy Schmidt) (/wiki/Jacqueline_White_(Unbreakable_Kimmy_Schmidt)) Emma Woodhouse (/wiki/Emma_Woodhouse) Eric van der Woodsen (/wiki/Eric_van_der_Woodsen) Serena van der Woodsen (/wiki/Serena_van_der_Woodsen) Bertie Wooster (/wiki/Bertie_Wooster) Y Charlotte York (/wiki/Charlotte_York) Z Zorro (/wiki/Zorro) esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Category:Fictional_socialites&oldid=1190749560 (https://en.wikipedia.org/w/index.php?title=Category:Fictional_socialites&oldid=1190749560) " Categories (/wiki/Help:Category) : Socialites (/wiki/Category:Socialites) Fictional characters by behavior (/wiki/Category:Fictional_characters_by_behavior) Mass media portrayals of the upper class (/wiki/Category:Mass_media_portrayals_of_the_upper_class) Hidden categories: Template Category TOC via Automatic category TOC on category with 101–200 pages (/wiki/Category:Template_Category_TOC_via_Automatic_category_TOC_on_category_with_101%E2%80%93200_pages) Automatic category TOC generates standard Category TOC (/wiki/Category:Automatic_category_TOC_generates_standard_Category_TOC)
African fashion model Anok Yai Yai in 2019 Born ( 1997-12-20 ) December 20, 1997 (age 26) Cairo (/wiki/Cairo) , Egypt Nationality American Modeling information Height 1.79 m (5 ft 10 + 1 ⁄ 2 in) [1] (#cite_note-1) Hair color Brown Eye color Brown Agency Next Management (/wiki/Next_Management) (Milan) SAFE Management (Paris) [2] (#cite_note-2) Anok Yai ( / (/wiki/Help:IPA/English) ə ˈ n ɒ k / (/wiki/Help:IPA/English) ə- NOK ; born December 20, 1997) is an American fashion model. She is the first model of South Sudanese descent and the second black supermodel after Naomi Campbell (/wiki/Naomi_Campbell) to open a Prada (/wiki/Prada) show. [3] (#cite_note-3) [4] (#cite_note-4) She has made several appearances on i-D (/wiki/I-D) and international Vogue (/wiki/Vogue_(magazine)) covers, including American Vogue three times. Models.com ranks her as one of the "New Supers" of this generation, [5] (#cite_note-supers-5) and since 2023, she was chosen by both the industry and fans as "Model of the Year" and USA Top Model 2024. [6] (#cite_note-6) [7] (#cite_note-7) Early and personal life [ edit ] Yai was born in Cairo (/wiki/Cairo) , Egypt, on December 20, 1997. [8] (#cite_note-8) When she was 3, her family moved to Manchester, New Hampshire (/wiki/Manchester,_New_Hampshire) . [9] (#cite_note-9) Her mother is a nurse and her father works for Easterseals (/wiki/Easterseals_(U.S.)) ; her sister Alim is her manager and a financial consultant. [10] (#cite_note-10) Yai graduated from Manchester High School West (/wiki/Manchester_High_School_West) and attended Plymouth State University (/wiki/Plymouth_State_University) studying biochemistry, intending to become a doctor. [11] (#cite_note-11) [12] (#cite_note-12) Career [ edit ] 2017–2021: Discovery and career beginnings [ edit ] Yai was discovered in October 2017 during Howard University (/wiki/Howard_University) 's homecoming week by a professional photographer, Steve 'theSUNK' Hall, who asked to take her picture. He posted the photo on Instagram (/wiki/Instagram) , accruing over 20,000 likes, and modeling agencies, including IMG Models (/wiki/IMG_Models) , asked to get in touch with her. She eventually chose to sign with Next Model Management (/wiki/Next_Model_Management) , who had called her daily for several weeks. [13] (#cite_note-13) [14] (#cite_note-14) Within 4 months, she became the first Sudanese model to open a Prada (/wiki/Prada) fashion show, which is deemed the highest feat in fashion modeling because of the careers Prada has launched. [15] (#cite_note-15) She has also appeared in the Prada SS 2018 campaign and an upcoming Nike (/wiki/Nike,_Inc.) campaign designed by Givenchy (/wiki/Givenchy) 's Riccardo Tisci (/wiki/Riccardo_Tisci) . [16] (#cite_note-16) On her breakthrough moment, she told Vogue (/wiki/Vogue_(magazine)) : "It was an honor and I'm proud that I was the one chosen to open, but this is bigger than me. Me opening for one of the top fashion houses is a statement to the world - especially for black women - that their beauty is something that deserves to be celebrated." [17] (#cite_note-17) Yai has walked the runways for brands including Versace (/wiki/Versace) , Max Mara (/wiki/Max_Mara) , Fendi (/wiki/Fendi) , Burberry (/wiki/Burberry) , and Louis Vuitton (/wiki/Louis_Vuitton) . She has also appeared in advertisements for Tiffany & Co. (/wiki/Tiffany_%26_Co.) , Nike (/wiki/Nike,_Inc.) , Hood by Air (/wiki/Hood_By_Air) , and Ambush (/wiki/Yoon_Ahn) . [18] (#cite_note-18) Yai has appeared on the covers and editorials of Vogue (/wiki/Vogue_(magazine)) (including several of international editions), W magazine (/wiki/W_(magazine)) , CR Fashion Book (/wiki/CR_Fashion_Book) , AnOther , Dust , Purple , Harper's Bazaar (/wiki/Harper%27s_Bazaar) , i-D (/wiki/I-D) , Self Service , V Magazine (/wiki/V_(American_magazine)) , Elle (/wiki/Elle_(magazine)) , Garage , Document Journal (/wiki/Document_Journal) , Dazed (/wiki/Dazed) , and Pop (/wiki/Pop_Magazine) . [19] (#cite_note-19) In 2018, Yai appeared in an advertising campaign for a S/S Nike, Riccardo Tisci (/wiki/Riccardo_Tisci) , and Minotaurs collaboration. [20] (#cite_note-20) In July 2018, she became an Estée Lauder (/wiki/Est%C3%A9e_Lauder_Companies) spokes model (/wiki/Promotional_model) . [21] (#cite_note-21) In December 2018, she was featured in a campaign for Alexander Wang (/wiki/Alexander_Wang_(designer)) 's "Collection 1" Drop 2. [22] (#cite_note-22) Also in that year, she was featured on the covers of Dazed , i-D , Purple Fashion (/wiki/Purple_(magazine)) , and Dust. In 2019, Yai appeared in a short film for the Chanel- Pharrell (/wiki/Pharrell_Williams) Collection, alongside Adut Akech (/wiki/Adut_Akech) and Alton Mason (/wiki/Alton_Mason) . [23] (#cite_note-23) She was featured on the covers of AnOther , CR Fashion Book , PRINT (/wiki/Print_(magazine)) , W , Vogue (including its Korean (/wiki/Vogue_Korea) , Italian (/wiki/Vogue_Italia) , Brazilian, and Japanese (/wiki/Vogue_Japan) editions). In 2020, Yai modeled for the Versace Resort "Flash 2021" campaign. [24] (#cite_note-24) She appeared in the Alexander McQueen (/wiki/Alexander_McQueen_(brand)) F/W 2020 campaign, photographed by Jamie Hawkesworth (/wiki/Jamie_Hawkesworth) . [25] (#cite_note-25) Yai once again appeared on cover of Vogue (its Japanese, German, Dutch (/wiki/Vogue_Nederland) , and American editions). In 2021, Yai starred in the Ambush S/S 2021 collection campaign photographed by Ethan James Green (/wiki/Ethan_James_Green) . [26] (#cite_note-26) She led Hood by Air (/wiki/Hood_By_Air) 's "02 PROLOGUE" campaign photoshoot in June 2021. [27] (#cite_note-27) [28] (#cite_note-28) Juergen Teller (/wiki/Juergen_Teller) photographed her for a Yves Saint Laurent (/wiki/Yves_Saint_Laurent_(brand)) Winter 2021 advertisement. [29] (#cite_note-29) In September 2021, she appeared on the cover of Vogue along with other models including Ariel Nicholson (/wiki/Ariel_Nicholson) , Bella Hadid (/wiki/Bella_Hadid) , and Kaia Gerber (/wiki/Kaia_Gerber) . [30] (#cite_note-30) 2022–present: Supermodel Status [ edit ] In 2022, Yai appeared in two S/S campaigns shot by Steven Meisel (/wiki/Steven_Meisel) for Max Mara (/wiki/Max_Mara) and Alexander McQueen. [31] (#cite_note-31) [32] (#cite_note-32) She modeled for Loro Piana (/wiki/Loro_Piana) in a photoshoot shot by Mario Sorrenti (/wiki/Mario_Sorrenti) . [33] (#cite_note-33) Yai later reunited with Meisel for a September campaign for Tiffany & Co. (/wiki/Tiffany_%26_Co.) Rose Gold Eau de Parfum . [34] (#cite_note-34) In February 2022, she appeared on the cover of British Vogue (/wiki/British_Vogue) alongside an all Black modeling cast. [35] (#cite_note-35) One of the first instances Yai was officially recognized as a supermodel (/wiki/Supermodel) was in a September 2022 cover celebrating the 50th anniversary of W (/wiki/W_(magazine)) . [36] (#cite_note-36) In 2023, Yai was featured in a Vogue tribute cover to Karl Lagerfeld (/wiki/Karl_Lagerfeld) , photographed by Annie Leibovitz (/wiki/Annie_Leibovitz) . [37] (#cite_note-37) She also covered Vogue Spain , Vogue Italy and i-D. [38] (#cite_note-38) Yai appeared in the music video for the song "Say Something" by American rapper Lil Yachty (/wiki/Lil_Yachty) . [39] (#cite_note-39) During Paris Fashion Week (/wiki/Paris_Fashion_Week) , Yai opened her first Mugler (/wiki/Mugler) runway show. [40] (#cite_note-40) [41] (#cite_note-41) [42] (#cite_note-42) Following her appearance at the 2023 Met Gala (/wiki/Met_Gala) in custom Prabal Gurung (/wiki/Prabal_Gurung) , she was ranked one of the "best dressed supermodels" by Vogue Australia (/wiki/Vogue_Australia) . [43] (#cite_note-43) W magazine remarked: "Yai could not be missed in her look". [44] (#cite_note-44) Yai capped off the year as the models.com Industry and Readers' vote for "Model of the Year". [45] (#cite_note-45) Yai began her 2024 walking for the Louis Vuitton Men's F/W show during Paris Fashion Week. [46] (#cite_note-46) She next appeared as a video vixen (/wiki/Video_vixen) in American rapper Travis Scott (/wiki/Travis_Scott) 's music video "I KNOW?" [47] (#cite_note-47) In February, she become the face of Alien Hypersense, a new fragrance by Mugler. [48] (#cite_note-48) Filmography [ edit ] Media appearances Year Title Role Notes 2019 The CHANEL Pharrell Collection - Chanel (/wiki/Chanel) [49] (#cite_note-49) Herself Short film 2020 Saint Laurent (/wiki/Yves_Saint_Laurent_(brand)) - Summer of '21 [50] (#cite_note-50) Herself Short film 2023 "Say Something" - Lil Yachty (/wiki/Lil_Yachty) [51] (#cite_note-51) Herself Music video 2024 Travis Scott - " I KNOW ? (/w/index.php?title=I_KNOW_%3F&action=edit&redlink=1) (Official Music Video)" Herself Music video References [ edit ] ^ (#cite_ref-1) "Next / Anok Yai" (http://www.nextmanagement.com/new-york/profile/anok-yai) . www.nextmanagement.com . ^ (#cite_ref-2) "Anok Yai - Model" (https://models.com/models/anok-yai) . models.com . ^ (#cite_ref-3) Okwodu, Janelle (February 22, 2018). "At Prada, Supermodels, Virtual Models, and a History-Making Moment" (https://www.vogue.com/article/prada-fall-2018-model-cast-supermodels-anok-yai) . Vogue . Condé Nast. ^ (#cite_ref-4) Lauren Alexis Fisher (February 23, 2018). "A Black Model Opened The Prada Show For The First Time Since 1997" (https://www.harpersbazaar.com/fashion/models/a18696458/anok-yai-black-model-prada-show/) . Harper's Bazaar . ^ (#cite_ref-supers_5-0) "New Supers" (https://models.com/rankings/ui/NewSupers/28645#28645) . models.com . ^ (#cite_ref-6) "Models.com Model of the Year Awards 2023" (https://models.com/mdx/model-of-the-year-awards-2023/) . models.com . December 18, 2023. ^ (#cite_ref-7) "USA Top Model" (https://usatopmodel.com/) . usatopmodel.com . Retrieved May 14, 2024 . ^ (#cite_ref-8) Singer, Olivia (January 15, 2018). "What You Need To Know About Prada's New Collection" (https://www.vogue.co.uk/article/what-you-need-to-know-about-pradas-new-collection) . British Vogue . Retrieved March 25, 2024 . ^ (#cite_ref-9) Wootson Jr., Cleve R. (October 31, 2017). "A photographer unexpectedly snapped her picture at homecoming. Then, modeling agencies called" (https://www.washingtonpost.com/news/grade-point/wp/2017/10/31/a-photographer-unexpectedly-snapped-her-picture-at-homecoming-then-modeling-agencies-called/) . The Washington Post . ^ (#cite_ref-10) Hayward, Mark. "Plymouth State student a model of internet fame after Instagram post - New Hampshire" (https://web.archive.org/web/20180612143820/http://www.newhampshire.com/nh-people/plymouth-state-student-a-model-of-internet-fame-after-instagram-post-20171025) . newhampshire.com . Archived from the original (http://www.newhampshire.com/nh-people/plymouth-state-student-a-model-of-internet-fame-after-instagram-post-20171025) on June 12, 2018 . Retrieved June 7, 2018 . ^ (#cite_ref-11) "Modeling agencies reach out to woman featured in viral photos" (https://www.cbsnews.com/news/anok-yai-viral-photos-modeling-agencies-plymouth-new-hampshire/) . cbsnews.com . October 30, 2017. ^ (#cite_ref-12) Heyward, Jasmine (November 11, 2017). "New Hampshire college student signs with modeling agency after viral Instagram photo" (https://www.boston.com/news/local-news/2017/11/11/new-hampshire-college-student-signs-with-modeling-agency-after-viral-instagram-photo) . boston.com . ^ (#cite_ref-13) Tate, Crystal (October 26, 2020). "This 19-Year-Old College Student Signs Major Modeling Contract After Her Photo From Howard Homecoming Goes Viral" (https://www.essence.com/beauty/anok-yai-howard-homecoming-modeling-contract) . Essence . ^ (#cite_ref-14) "Secrets of the Supermodel Trade" (https://www.businessoffashion.com/articles/global-currents/secrets-of-the-supermodel-trade) . Business of Fashion . ^ (#cite_ref-15) Yates, Jacqueline Laurean (February 23, 2018). "This South Sudanese college student is now a top model at Prada, thanks to the internet" (https://www.yahoo.com/lifestyle/south-sudanese-college-student-now-top-model-prada-thanks-internet-203816961.html) . yahoo.com . ^ (#cite_ref-16) "8 Models to Watch This Season" (https://www.nytimes.com/2018/02/09/t-magazine/fashion/models-to-watch-fashion-week.html) . The New York Times . February 9, 2018 – via NYTimes.com. ^ (#cite_ref-17) " (https://www.vogue.co.uk/article/anok-yai-prada-model-2018) "This Is Bigger Than Me" - Anok Yai On Being The First Black Model To Open Prada In 20 Years" (https://www.vogue.co.uk/article/anok-yai-prada-model-2018) . British Vogue . February 26, 2018 . Retrieved June 11, 2023 . ^ (#cite_ref-18) "Anok Yai - Model" (https://models.com/models/anok-yai) . MODELS.com . Retrieved April 21, 2023 . ^ (#cite_ref-19) "Anok Yai - Gallery with 100 editorials - Fashion Model \| Models \| The FMD \| Page 9" (https://www.fashionmodeldirectory.com/models/anok_yai/editorials/?start=96) . The FMD - FashionModelDirectory.com . Retrieved April 28, 2023 . ^ (#cite_ref-20) "Riccardo Tisci x Nike's Victorious Minotaurs Return in Newest Collection" (https://hypebeast.com/2018/2/riccardo-tisci-nikelab-spring-2018) . Hypebeast . February 8, 2018 . Retrieved June 11, 2023 . ^ (#cite_ref-21) March, Bridget (August 8, 2018). "Anok Yai On Making Fashion and Beauty History" (https://web.archive.org/web/20181003181748/https://www.crfashionbook.com/beauty/a22677124/anok-yai-interview-diversity-estee-lauder/) . CR Fashion Book . Archived from the original (https://www.crfashionbook.com/beauty/a22677124/anok-yai-interview-diversity-estee-lauder/) on October 3, 2018 . Retrieved October 3, 2018 . ^ (#cite_ref-22) "Alexander Wang's Drop 2 of "COLLECTION 1" Just Dropped" (https://hypebae.com/2018/12/alexander-wang-collection-1-drop-2-campaign) . Hypebae . December 20, 2018 . Retrieved June 11, 2023 . ^ (#cite_ref-23) "An Exclusive Look At The Making Of The Chanel-Pharrell Capsule Collection" (https://www.vogue.co.uk/article/chanel-pharrell) . British Vogue . March 25, 2019 . Retrieved June 11, 2023 . ^ (#cite_ref-24) "Vibrant Versace Flash 2021 Campaign Honors BLM" (https://anneofcarversville.com/fashion/2020/8/23/vibrant-versace-flash-2021-campaign) . Anne of Carversville . August 23, 2020 . Retrieved June 11, 2023 . ^ (#cite_ref-25) "Alexander McQueen Fall 2020 Campaign" (https://www.fashiongonerogue.com/alexander-mcqueen-fall-2020-campaign/) . www.fashiongonerogue.com . August 17, 2020 . Retrieved June 11, 2023 . ^ (#cite_ref-26) admin (February 8, 2021). "Inside the Comfort Zone: AMBUSH Spring Summer 2021 Collection" (https://www.designscene.net/2021/02/ambush-ss21.html) . DSCENE . Retrieved June 11, 2023 . ^ (#cite_ref-27) "HOOD BY AIR "GENESIS" (https://www.philipdanielducasse.com/hood-by-air-genesis) " (https://www.philipdanielducasse.com/hood-by-air-genesis) . Philip-Daniel Ducasse . Retrieved June 11, 2023 . ^ (#cite_ref-28) "Hood By Air "02 PROLOGUE" Campaign" (https://models.com/work/hood-by-air-hood-by-air-02-prologue-campaign/1537687) . models.com . June 2021 . Retrieved June 11, 2023 . ^ (#cite_ref-29) "Kiki Willems, Awar Odhiang Front Saint Laurent Winter 2021/22 Campaign" (https://anneofcarversville.com/fashion/2021/10/21/juergen-teller-ysl-winter-2021) . Anne of Carversville . October 21, 2021 . Retrieved June 11, 2023 . ^ (#cite_ref-30) Singer, Maya (August 5, 2021). "Generation America: The Models Changing an Industry" (http://www.vogue.com/article/september-issue-2021-cover-new-beginnings/) . Vogue . ^ (#cite_ref-31) Enke, Anne (February 21, 2022). "Max Mara Spring 2022 Campaign by Steven Meisel with Anok, Loli, Vittoria and Yilan" (https://anneofcarversville.com/daily/2022/2/21/max-mara-ss-2022-campaign-steven-meisel-42b9g) . Anne of Carversville . Retrieved June 11, 2023 . ^ (#cite_ref-32) Benjamin, Mark (January 20, 2022). "Alexander McQueen taps Steven Meisel for spring summer 2022" (https://rain-mag.com/alexander-mcqueen-taps-steven-meisel-to-capture-the-spring-summer-2022-campaign/) . Rain . Retrieved June 11, 2023 . ^ (#cite_ref-33) "Loro Piana S/S 2022 : Anok Yai, Rianne Van Rompaey & Leon Dame by Mario Sorrenti" (https://forums.thefashionspot.com/threads/loro-piana-s-s-2022-anok-yai-rianne-van-rompaey-leon-dame-by-mario-sorrenti.406532/) . the Fashion Spot . Retrieved June 11, 2023 . ^ (#cite_ref-34) "Tiffany & Co. 'Rose Gold' Fragrance 2021 : Anok, Kristina & Fei Fei by Steven Meisel" (https://forums.thefashionspot.com/threads/tiffany-co-rose-gold-fragrance-2021-anok-kristina-fei-fei-by-steven-meisel.404357/) . the Fashion Spot . Retrieved June 11, 2023 . ^ (#cite_ref-35) Saltzman, Stephanie (January 14, 2022). "Must Read: British 'Vogue' Celebrates African Models, a New York State Senator Discusses The Fashion Act" (https://fashionista.com/2022/01/british-vogue-february-2022-cover-african-models) . Fashionista . Retrieved June 11, 2023 . ^ (#cite_ref-36) "Anok Yai on Her History-Making Model Moment" (https://www.wmagazine.com/fashion/anok-yai-model-interview) . W Magazine . September 6, 2022 . Retrieved June 11, 2023 . ^ (#cite_ref-37) "Amanda Harlech Remembers Karl Lagerfeld—And Styles 16 Dynamic Looks From 'A Line of Beauty' (https://www.vogue.com/article/karl-and-me-amanda-harlech-karl-lagerfeld-tribute-may-2023) " (https://www.vogue.com/article/karl-and-me-amanda-harlech-karl-lagerfeld-tribute-may-2023) . Vogue . April 11, 2023 . Retrieved June 11, 2023 . ^ (#cite_ref-38) "Anok Yai - Gallery with 27 magazine covers - Fashion Model \| Models \| The FMD \| Page 1" (https://www.fashionmodeldirectory.com/models/anok_yai/covers/) . FashionModelDirectory . Retrieved June 21, 2023 . ^ (#cite_ref-39) "Lil Yachty Shares The Bizarre 'Say Something' Video" (https://uproxx.com/music/lil-yachty-say-something-video/) . UPROXX . January 29, 2023 . Retrieved February 1, 2023 . ^ (#cite_ref-40) Street, Chloe (January 27, 2023). "Mugler's all-star cast serve highly-sexed attitude in Paris" (https://www.standard.co.uk/insider/fashion/mugler-paris-couture-week-show-ss23-b1056023.html) . Evening Standard . Retrieved March 6, 2023 . ^ (#cite_ref-41) Cary, Alice (March 3, 2023). "Naomi Campbell Reminded Everyone What "Supermodel" Means at Paris Fashion Week" (https://www.vogue.com/article/naomi-campbell-off-white-fall-2023) . Vogue . Retrieved March 6, 2023 . ^ (#cite_ref-42) "Anok Yai - Model" (https://models.com/models/anok-yai) . MODELS.com . Retrieved March 6, 2023 . ^ (#cite_ref-43) Lai, Gladys (May 1, 2023). "Met Gala 2023: The Best Dressed Supermodels" (https://www.vogue.com.au/culture/red-carpet/supermodels-met-gala-2023/image-gallery/9b729780e2d9cb3b2c49ce4e45b2ea80) . Vogue Australia . ^ (#cite_ref-44) "Anok Yai Knows How to Deliver a Model Off-Duty Look" (https://www.wmagazine.com/fashion/anok-yai-model-off-duty-look-street-style) . W Magazine . Retrieved May 4, 2023 . ^ (#cite_ref-45) "Who Are The Models of the Year?" (https://fashionweekdaily.com/who-are-the-models-of-the-year-cindy-crawford-and-prince-williams-connection-tommy-hilfigers-latest-venture-and-more/) . Daily Front Row . December 20, 2023 . Retrieved January 17, 2024 . ^ (#cite_ref-46) "Louis Vuitton Fall 2024 Menswear Collection" (https://www.vogue.com/fashion-shows/fall-2024-menswear/louis-vuitton) . Vogue . January 16, 2024 . Retrieved January 17, 2024 . ^ (#cite_ref-47) "Watch Travis Scott Juggle Models Emily Ratajkowski & Anok Yai as His Love Interests in 'I Know?' Video" (https://www.billboard.com/music/rb-hip-hop/travis-scott-i-know-music-video-1235587335/) . Billboard . January 23, 2024 . Retrieved January 25, 2024 . ^ (#cite_ref-48) Weil, Jennifer (February 1, 2024). "EXCLUSIVE: Mugler Is Launching Alien Hypersense and a New Concept Store in China" (https://wwd.com/business-news/business-features/mugler-launching-alien-hypersense-new-concept-store-china-1236160263/) . WWD . Retrieved February 2, 2024 . ^ (#cite_ref-49) "An Exclusive Look At The Making Of The Chanel-Pharrell Capsule Collection" (https://www.vogue.co.uk/article/chanel-pharrell) . British Vogue . March 25, 2019 . Retrieved June 16, 2023 . ^ (#cite_ref-50) Walsh, Savannah (December 30, 2020). "Saint Laurent's New Short Film Will Transport You to Summer '21" (https://www.elle.com/fashion/trend-reports/a35098262/yves-saint-laurent-summer-21-short-film/) . ELLE . Retrieved September 26, 2021 . ^ (#cite_ref-51) "Lil Yachty Shares The Bizarre 'Say Something' Video" (https://uproxx.com/music/lil-yachty-say-something-video/) . UPROXX . January 29, 2023 . Retrieved June 11, 2023 . 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Traditional Manchu clothing Qizhuang Painting of a Manchurian Family, Qing dynasty, 1800. Chinese name Chinese (/wiki/Chinese_language) 旗裝 Literal meaning Banner dress Transcriptions Standard Mandarin (/wiki/Standard_Chinese) Hanyu Pinyin (/wiki/Hanyu_Pinyin) Qízhuāng English name English Manchu clothing/ Manchu dress Qizhuang ( Chinese (/wiki/Chinese_language) : 旗裝 ; pinyin (/wiki/Pinyin) : qízhuāng ; lit. 'Banner dress'), also known as Manfu ( Chinese (/wiki/Chinese_language) : 滿服 ; pinyin (/wiki/Pinyin) : Mǎnfú ; lit. 'Manchu clothes') and commonly referred as Manchu clothing in English, is the traditional clothing of the Manchu people (/wiki/Manchu_people) . Qizhuang in the broad sense refers to the clothing system of the Manchu people, which includes their whole system of attire used for different occasions with varying degrees of formality. [1] (#cite_note-:0-1) The term qizhuang can also be used to refer to a type of informal dress worn by Manchu women known as chenyi , which is a one-piece long robe (/wiki/Robe) with no slits on either sides. [1] (#cite_note-:0-1) [2] (#cite_note-:1-2) In the Manchu tradition, the outerwear of both men and women includes a full-length robe with a jacket or a vest while short coats and trousers are worn as inner garments. [3] (#cite_note-:6-3) The Manchu people have a history of about 400 years; however, their ancestors have a history of 4000 years. [2] (#cite_note-:1-2) The development of qizhuang , including the precursor of the cheongsam (/wiki/Cheongsam) , is closely related to the development and the changes of the Manchu Nationality (and their ancestors) throughout centuries, potentially including the Yilou people (/wiki/Yilou) in the Warring States Period (/wiki/Warring_States_period) , the Sushen people (/wiki/Sushen) in the Pre-Qin period, the Wuji people in the Wei (/wiki/Cao_Wei) and Jin period (/wiki/Jin_dynasty_(266%E2%80%93420)) , the Mohe people (/wiki/Mohe_people) from the Sui (/wiki/Sui_dynasty) and Tang dynasties (/wiki/Tang_dynasty) , and the Nuzhen (known as Jurchen (/wiki/Jurchen_people) ) in the Liao (/wiki/Liao_dynasty) , Song (/wiki/Song_dynasty) , Yuan (/wiki/Yuan_dynasty) , and Ming dynasties (/wiki/Ming_dynasty) . [2] (#cite_note-:1-2) [4] (#cite_note-:2-4) The Qing dynasty (/wiki/Qing_dynasty) was a period when the Manchu's clothing development stage reached maturity. [2] (#cite_note-:1-2) In the Qing dynasty, the clothing culture of the Manchu people contradicted and collided with the clothing culture (/wiki/Hanfu) of the Han Chinese (/wiki/Han_Chinese) due to their cultural differences and aesthetic concepts. [4] (#cite_note-:2-4) Some Qing dynasty court dress preserved features and characteristics which are distinct from the clothing worn by the Manchu prior to their conquest of the Ming dynasty. [5] (#cite_note-:8-5) : 42 The Qing dynasty officials also wore court dresses, which were variants of Manchu clothing at the court. [5] (#cite_note-:8-5) : 41 Characteristics and cultural significance [ edit ] See also: Hanfu (/wiki/Hanfu) Characteristics [ edit ] Manchu clothing contrasted to the Hanfu (/wiki/Hanfu) , Han Chinese clothing, worn in the Ming dynasty (/wiki/Ming_dynasty) ; "in contrast to the ample, flowing robes and slippers with upturned toes of the sedentary Ming, the Manchu wore the boots, trousers, and functional riding coats of nomadic horsemen". [5] (#cite_note-:8-5) : 39 A changfu showing characteristics of Manchu clothing: 1. 4-slit opening, 2. matixiu cuffs, 3. tight and long sleeves, 4. slanted opening, 5. use of buttons and loops at the center front neck, right clavicle, under right arm, and along the right seam of the robe. Manchu of both sexes wore trousers to protect their legs from the horse's flanks and from the elements. [5] (#cite_note-:8-5) : 40 Their boots had rigid soles to facilitate archery on horseback by allowing the riders to stand in the iron stirrups (/wiki/Stirrup) . [5] (#cite_note-:8-5) : 40 The Manchu people also wore hoods which provided insulation and were essential to protect the wearer from the cold Northeast Asian winters. [5] (#cite_note-:8-5) : 39–40 Manchu coats (and robes) were typically closed fitting and had 4-slits opening on 4 sides (2 sides of the garment, back and front) to facilitate ease of movements when horseback riding; [5] (#cite_note-:8-5) : 40 [6] (#cite_note-:3-6) their sleeves were long and tight with their sleeves cuff ending in the shape of a horse's hoof, referred as matixiu (/w/index.php?title=Matixiu&action=edit&redlink=1) ( Chinese (/wiki/Chinese_language) : 马蹄袖 ; pinyin (/wiki/Pinyin) : mǎtíxiù ; lit. 'horse hoof cuff'), which was meant to protect its wearer's back of the hands from the wind. [5] (#cite_note-:8-5) : 40 [6] (#cite_note-:3-6) [7] (#cite_note-:9-7) The Manchu's robes were overlapping in the form of a lute (/wiki/Pipa) -shaped (or slant/curved) front, a Manchu innovation which was used, distinguished the Manchu robes from similar-looking clothing worn by the Mongol (/wiki/Mongols) and by those worn by the Han Chinese. [7] (#cite_note-:9-7) Manchu robes were fastened with loop and toggle buttons at the centre front of the neck area, right of the clavicle, under the right arm and along the right seam; this ways of closing their clothing differed from the Han Chinese who fastened a knotted button at the right neck opening near the shoulder line. [7] (#cite_note-:9-7) Matixiu and slanted opening remained main features of Manchu dress until the collapse of the Qing dynasty in 1911. [7] (#cite_note-:9-7) Their male traditional hairstyle is the queue (/wiki/Queue_(hairstyle)) , which is called bianzi in Chinese and soncoho in Manchu language. [8] (#cite_note-:33-8) : 59 Emphasis on Manchu cultural identity [ edit ] The Manchu elites perceived themselves and the emperor as being Manchu first with a long tradition rooted in riding horses, shooting arrows, and hunting; they saw their clothing as having been designed to be suitable for their lifestyles and practices. [9] (#cite_note-:7-9) : 147 Their clothing was associated with martial vigour; [5] (#cite_note-:8-5) : 40 Manchu clothing allowed greater ease of movement while the Han Chinese wide and long-sleeved robes limited movements. [5] (#cite_note-:8-5) : 40 According to the Documents of History of Qing Dynasty by Yufu zhi : " Manchu people are good at riding and shooting. If we adopt Han people's clothes easily and gradually lose the skill of archery and horse riding and no longer worship martial arts, isn't that a pity that we will keep these weapons but have no reasons to practice them ". [4] (#cite_note-:2-4) The Manchu elites saw these characteristics of the Manchu culture as very important features which needed to be preserved, fully emphasized and expressed in their rule. [9] (#cite_note-:7-9) : 147 Therefore, in the early Qing dynasty, the Manchu rulers emphasized that the Han Chinese had to follow the dress code of the Manchu. [4] (#cite_note-:2-4) However, not every Han Chinese were required to wear Manchu clothing under the Tifayifu policy (/wiki/Tifayifu) due to another mitigation policy adopted by the Qing court typically referred as the "ten rules that must be obeyed and ten that need not be obeyed", advocated by Jin Zhijun. [4] (#cite_note-:2-4) Left: Han Chinese woman wearing the Hanfu of the Qing dynasty. Right: Manchu woman wearing Qizhuang. Ethnic markers between Manchu and Han Chinese women [ edit ] Through a mitigation policy to the Tifayifu, Han Chinese (/wiki/Han_Chinese) women were allowed to keep the style and characteristics of the Ming dynasty's women clothing; allowing the coexistence of both Manchu and Han Chinese women's clothing. [4] (#cite_note-:2-4) Manchu and Han Chinese women differed from each other in their dress style. [6] (#cite_note-:3-6) Han Chinese women followed the long tradition of liangjie chuanyi ( Chinese (/wiki/Chinese_language) : 两截穿衣 ; pinyin (/wiki/Pinyin) : liǎngjié chuānyī ), which refers to the wearing of two-part top-bottom garment style, when wearing their hanfu (/wiki/Hanfu) . This tradition persisted throughout centuries up to the early 1920s. [1] (#cite_note-:0-1) Liangjie chuanyi -style clothing became one of the ethnic markers of the Han Chinese women's identity. [1] (#cite_note-:0-1) On the other hand, Manchu women wore a one-piece long dress. [1] (#cite_note-:0-1) [3] (#cite_note-:6-3) However, they borrowed some elements from each other in the Qing dynasty, for example, wide robe sleeves which are typical features in the Han Chinese women's clothing was adopted in the informal daily outfits of the Manchu women. [6] (#cite_note-:3-6) Manchu women's clothing was therefore influenced by the Han Chinese clothing culture. [4] (#cite_note-:2-4) Manchu women also had natural feet and did not engage in foot binding (/wiki/Foot_binding) as opposed to the Han Chinese women. [8] (#cite_note-:33-8) : 59 Pre-Manchu history [ edit ] Sushen/Yilou people [ edit ] In the Shang (/wiki/Shang_dynasty) and Zhou dynasties (/wiki/Zhou_dynasty) , the earliest ancestors of the Manchu were the Sushen people (/wiki/Sushen) who lived in the Songhua river (/wiki/Songhua_River) basin in China. [2] (#cite_note-:1-2) Their clothing culture was influenced by their productivity and geographical environment; the Sushen people lived on fishing and hunting; therefore, their clothing were made out of wild animal fur. [2] (#cite_note-:1-2) According to Guo Pu (/wiki/Guo_Pu) 's commentary in Shanhaijing (/wiki/Classic_of_Mountains_and_Seas) , the Sushen people resided north of the Liaodong Commandery (/wiki/Liaodong_Commandery) lived in caves and only wore pig hides for clothing and in winter, they would smear grease on their bodies to protect themselves from the wind and cold. [10] (#cite_note-10) : 191 According to the Book of Jin (/wiki/Book_of_Jin) , the Sushen (also known as Yilou (/wiki/Yilou) ) lived north of the Changbai Mountain (/wiki/Changbai_Mountains) ; a Sushen man would stick feathers in a woman's hair and if the woman accepted, he would propose her to be his wife and marry her in a formal and respectful way; a custom which was passed down to the Yuan and Ming dynasties. [11] (#cite_note-:14-11) : 42 Mohe people [ edit ] In the 7th century Tang dynasty, the descendants of the ancient Sushen people were known as the Heishui Mohe (/wiki/Heishui_Mohe) ( Chinese (/wiki/Chinese_language) : 黑水靺鞨 ; pinyin (/wiki/Pinyin) : Hēishuǐ mòhé ; Korean (/wiki/Korean_language) : 흑수말갈 ; Hanja (/wiki/Hanja) : 黑水靺鞨 ; RR (/wiki/Revised_Romanization_of_Korean) : Heuksu Malgal ). [12] (#cite_note-12) Another descendants branch of the Sushen, Yilou, and Wuji people were the Sumo Mohe (/wiki/Mohe_people) who established the Bohai kingdom; [13] (#cite_note-:16-13) : 55 a kingdom which was made up of a large number of Mohe tribesmen (/wiki/Mohe_people) in terms of population while the ruling class was composed mostly of Goguryeo people. [14] (#cite_note-:17-14) : 72, 89 [15] (#cite_note-:18-15) : 36 Some Mohe people however managed to become part of the ruling elite of Bohai. [14] (#cite_note-:17-14) : 89 [15] (#cite_note-:18-15) : 36 Bohai eventually fell under the Khitans (/wiki/Khitan_people) in 926 and the Goguryeo elites of Bohai became refugees in Goryeo leaving the indigenous Mohe people behind, who then became the subjects of the Liao dynasty (/wiki/Liao_dynasty) . [14] (#cite_note-:17-14) : 91 The Heishui Mohe had the customs of using wild boar tusks and pheasant tail feathers for their headdress. [11] (#cite_note-:14-11) : 42 According to the Old Book of Tang (/wiki/Old_Book_of_Tang) , the New Book of Tang (/wiki/New_Book_of_Tang) , and the Book of Sui (/wiki/Book_of_Sui) , Mohe men wore clothing of leather and decorated their hats with pheasant feathers. [16] (#cite_note-:19-16) : 138 The Mohe people, who lived in the northern regions and eastern regions of Bohai, lived through hunting and fishing and wore clothing made out of fur (including sable, bear, and tiger) to protect against the cold with fur attached to the clothing. [16] (#cite_note-:19-16) : 145–146 Jurchen/Nuzhen history [ edit ] The ancestors of the Manchu, the Jurchen people (/wiki/Jurchen_people) [13] (#cite_note-:16-13) : 55 , also fully reflected the characteristics of the Manchu people as nomadic people; their clothing were zuoren (closing to the left) and their sleeves had horse-hoof cuff. [2] (#cite_note-:1-2) The Jurchen clothing also reflected some fusion of Han and Manchu culture. [2] (#cite_note-:1-2) Throughout the Jin, Liao and early Qing dynasties, the Jurchen retained their traditional customs of wearing feather caps and coats. [11] (#cite_note-:14-11) : 42 The young Jurchen girls would wear a tube-shaped, five-colour beads which were engraved with ornamental design made of bird-neck bone. [11] (#cite_note-:14-11) : 42 Five dynasties and ten Kingdoms, Liao dynasty, Song dynasty [ edit ] During the Five dynasties (/wiki/Five_Dynasties_and_Ten_Kingdoms_period) period, the Mohe people started to be referred as the Jurchen people (/wiki/Jurchen_people) ( Chinese (/wiki/Chinese_language) : 女真 ; pinyin (/wiki/Pinyin) : Nǚzhēn ), [17] (#cite_note-:11-17) : 338 they were referred as such by the Khitans who had founded the Liao dynasty. [18] (#cite_note-:15-18) : 85 The Liao dynasty had subdued the Heishui Mohe (/wiki/Heishui_Mohe) who lived along the Heilongjiang river (/wiki/Amur) , the Songhua River (/wiki/Songhua_River) , and in the Changbai Mountains (/wiki/Changbai_Mountains) . [18] (#cite_note-:15-18) : 85 The Jurchens, therefore, emerged from the Mohe tribes who lived south and west of the Changbai mountains and north to the Bohai kingdom (/wiki/Balhae) . [19] (#cite_note-:12-19) : 56 In the early history of the Jurchen, the Jurchen liked to wear white clothing and shaved the front of their head above the temples while the rest of their hair hung down to their shoulders. [17] (#cite_note-:11-17) : 40 They could also shave their hair at the back of the head and bundled it with coloured silk; they also wore golden locks as their ornaments. [17] (#cite_note-:11-17) : 40 The wealthy Jurchen used pearls and golds as ornaments. [17] (#cite_note-:11-17) : 40 Jurchen women braided their hair and wound them into a hair bun without wearing a hat. [17] (#cite_note-:11-17) : 40 The Jurchen wove hemp as they did not raise silkworms; they used the fineness of hemp cloth to indicate their wealth. [17] (#cite_note-:11-17) : 40 In winter, fur coats were used by both the rich and the poor to keep themselves warm. [17] (#cite_note-:11-17) : 40 Jin dynasty [ edit ] Main article: Fashion in the Jurchen Jin dynasty (/wiki/Fashion_in_the_Jurchen_Jin_dynasty) See also: Fashion in the Liao dynasty (/wiki/Fashion_in_the_Liao_dynasty) The sheng ( Chinese (/wiki/Chinese_language) : 生 ; lit. 'raw') Jurchens lived a relatively primitive and indigenous lifestyle based on hunting and herding similar to the lifestyle of their ancestors. [19] (#cite_note-:12-19) : 56 The Jurchens founded the Jin dynasty (/wiki/Jin_dynasty_(1115%E2%80%931234)) in 1115 and eventually overthrew the Liao dynasty (/wiki/Liao_dynasty) . [19] (#cite_note-:12-19) : 56 Some remnants of the Bohai people became the subjects of the Jin after it overthrew the Liao dynasty; and by the mid-Jin dynasty, the Bohai people lost their distinct identity with assimilation. [13] (#cite_note-:16-13) : 55 Soon after having founded the Jin dynasty, the Jurchen elites abandoned their sheng ways of life having been first influenced by Bohai (/wiki/Balhae) and later on by gaining much of northern China and the former Song dynasty (/wiki/Song_dynasty) population which were large in numbers. [19] (#cite_note-:12-19) : 57 The Jurchens who lived in the Jin dynasty quickly adopted Han Chinese culture, [19] (#cite_note-:12-19) : 56, 68 and by the late 12th century, Hanfu (/wiki/Hanfu) had become the standard form of clothing throughout the Jin society, in particular by the elites. [19] (#cite_note-:12-19) : 61 After having conquered northern China, in 1126, a proclamation was issued by the Grand Marshal's office stipulating that the Jurchens had conquered all and it would be therefore appropriate to unify the customs of the conquered people to make them conform to the Jurchen norms; therefore the Chinese men living in the conquered territories were ordered to shave their hair on the front of their head and to dress only in Jurchen-style attire under the threat of execution to display their submission to the Jurchens. [20] (#cite_note-20) : 228 [21] (#cite_note-:13-21) This shaving hair order and adopting Jurchen clothing was however cancelled just a few months after it was stipulated as it was too difficult to enforce. [21] (#cite_note-:13-21) In general, the Jin dynasty Jurchen clothing were similar to those worn by the Khitans in Liao, except for their preference for the colour white. Yuanlingpao (/wiki/Yuanlingshan) with tight sleeves (closing to the left side, with pipa-shaped collar) were worn by men with leather boots and belts. [22] (#cite_note-:39-22) : 136 Jurchen women liked to wear jackets (either dark red or dark purple) which closed to the left side with long flapped skirts. [22] (#cite_note-:39-22) : 136–137 It is also recorded in the section Carriages and Costumes of the History of Jin Dynasty (/wiki/History_of_Jin) that Jurchen clothes were decorated with bears, deer, mountains and forest patterns. [22] (#cite_note-:39-22) : 136 In 1127, the Jin dynasty occupied the Northern Song (/wiki/Northern_Song_(960%E2%80%931127)) capital and the territories of the Northern Song and the Han Chinese became the majority population of the Jin dynasty; the Han Chinese were allowed to practice their own culture. [19] (#cite_note-:12-19) : 68 The hair shaving and adopting Jurchen clothing imposition order on the Chinese was once again reinforced in 1129; however, it does not seem to have been strictly been enforced. [23] (#cite_note-:20-23) : 281 In the 1150, Emperor Hailing (/wiki/Wanyan_Liang) established a sinicization (/wiki/Sinicization) policy. [24] (#cite_note-:21-24) : 92 Under his reign, the Chinese in Honan were allowed to wear Chinese clothing. [23] (#cite_note-:20-23) : 281 Cai Wenji (/wiki/Cai_Yan) depicted wearing Jurchen-style clothing, from the painting Cai Wenji returning to Han , Jin dynasty, c.1200 In the late 1160s, Emperor Shizong (/wiki/Emperor_Shizong_of_Jin) , the successor of Emperor Hailing, attempted to revive old Jurchen culture [19] (#cite_note-:12-19) : 68 [24] (#cite_note-:21-24) : 92 and to preserve the Jurchen's cultural identity. [23] (#cite_note-:20-23) : 281 By his time, many Jurchens appeared to have adopted Chinese customs and had forgotten their own traditions. [23] (#cite_note-:20-23) : 281 As a result, Emperor Shizong also prohibited the Jurchens from adopting Han Chinese attire. [24] (#cite_note-:21-24) : 92 [23] (#cite_note-:20-23) : 281 Jurchen material culture dating about 1162 were found in the coffin of the Prince of Qi, Wanyan Yan (https://zh.wikipedia.org/wiki/%E5%AE%8C%E9%A1%8F%E5%85%97) , and his wife, where Wanyan Yan and his wife were dressed in layers of clothing in the duplicate style as those worn by Lady Wenji (/wiki/Cai_Yan) and the warriors who accompanied her in the painting Cai Wenji returning to Han . [19] (#cite_note-:12-19) : 61 The Prince of Qi wore earrings, drawers, padded leggings, jerkins, boots, a padded outer jacket with medallion designs at the back and front jacket; soft shoes and socks, and a small hat while his wife wore a short apron, trousers, leggings, a padded silk skirt, a robe with gold motifs, silk shoes with soft soles and turned-up toes. [19] (#cite_note-:12-19) : 62 These forms of Jurchen clothing were in the styles of the old Jurchen nobility; a style which may have been typical of the clothing of the Jin imperial elite at some point in the late 12th century during the reign of Emperor Shizong (/wiki/Emperor_Shizong_of_Jin) , who emphasized the values of the old sheng Jurchen and attempted to revive Jurchen culture and values. [19] (#cite_note-:12-19) : 57, 61–62 The tribeswomen in the painting Cai Wenji returning to Han wear Jurchen attires consisting of leggings, skirts, aprons made of animal hide, jackets, scarves, hats made of fur or cloth; Wenji also wears Jurchen-style attire consisting of an ochre yellow jacket, silver yunjian (/wiki/Yunjian) (a symbol of high rank), boots, and fur hat with ear flaps; the tribesmen wear typical sheng Jurchen clothing with the exception of a Han Chinese official. [19] (#cite_note-:12-19) : 58–59 However, clothes worn by the Prince of Qi and his wife were not rough-woven wool, felt, and animal-skin that the sheng Jurchen wore; instead, they wore clothing made of fine Chinese silks, with some decorated with gold thread (/wiki/Chinese_ornamental_gold_silk) ; they also did not wear boots. [19] (#cite_note-:12-19) : 62 According to Fan Chengda (/wiki/Fan_Chengda) who visited the Jin dynasty in 1170 following the Jin conquest of the Northern Song dynasty (/wiki/Northern_Song_(960%E2%80%931127)) , he noted that the Han Chinese men had adopted Jurchen clothing while the women dressing style were still similar to the Hanfu (/wiki/Hanfu) worn in the Southern Song dynasty (/wiki/Song_dynasty) (although the style was outdated). [19] (#cite_note-:12-19) : 72 After the death of Emperor Shizong, the policy of Jurchenization was abandoned and sinicization returned quickly. [24] (#cite_note-:21-24) : 92 By 1191, the rulers of the Jin dynasty perceived their dynasties as being a legitimate Chinese dynasty which had preserved the traditions of the Tang and Northern Song dynasties. [24] (#cite_note-:21-24) : 92 By the 13th century, the Jurchens of Jin considered the sheng Jurchens as outsiders, barbarians, and sometimes even as their enemies. [19] (#cite_note-:12-19) : 56, 59–60 Manchu history [ edit ] Ming dynasty and later Jin dynasty [ edit ] Transition from Jurchen to Manchu [ edit ] Manchu (and Jurchen) clothing initially looked similar to the clothing worn during the early dynasties of conquest (/wiki/Conquest_dynasty) in its core features. [5] (#cite_note-:8-5) : 39 The Jurchens and Manchu were originally hunters who made their clothing from the hides of animals they hunted. [25] (#cite_note-:10-25) They also relied on trade to obtain the cloth required to make their horse-riding clothing; their cloth coats would then often be quilted or face with fur to increase protection against the cold. [26] (#cite_note-:34-26) They wore surcoats, such as magua (/wiki/Magua_(clothing)) . [26] (#cite_note-:34-26) After 1630, their magua often reflected its wearer's association to his banner through the colour of the garment or its trimmings. [26] (#cite_note-:34-26) Prior to the Ming dynasty conquest, the Manchu (and their predecessors [27] (#cite_note-:32-27) : 28 ) had already been bestowed with dragon robes by the Ming court as diplomatic gifts and bribes. [25] (#cite_note-:10-25) [28] (#cite_note-28) : 6 Thus, Manchu rulers ordered to that silk Ming dynasty dragon robes be trimmed with sable (/wiki/Sable) . [27] (#cite_note-:32-27) : 25 During the time of Nurharci (/wiki/Nurhaci) , the highest-ranking members of the Jurchen elites wore Manchurian pearls, sable, and lynx (/wiki/Lynx) : the highest members of the elites wore plaited (/wiki/Braid) sable jackets and robes of black sable, they wore Chinese-style racoon-dog (/wiki/Common_raccoon_dog) or lynx fur robes; 2nd rank men wore robes or coats made of plain raccoon-dog lined with sable; and the men of the 3rd rank would wear dragon robes lined with sable in the Jurchen style. [27] (#cite_note-:32-27) : 28 Lower noblemen were dressed in squirrel and weasel fur. [27] (#cite_note-:32-27) : 28 The term "Manchu" was only adopted in 1635 by Hong Taiji (/wiki/Hong_Taiji) [5] (#cite_note-:8-5) : 36 in an attempt to create a new identity and people who referred to them as Jurchen would be executed. [8] (#cite_note-:33-8) : 58–59 Hong Taiji had declared: [8] (#cite_note-:33-8) : 59 Originally, the name for our people [gunrun] was Manju, Hada, Ula, Yehe, and Hoifa. Ignorant people call these "Jurchens". But the Jurchens are those of the same clan of Coo Mergen Sibe. What relation are they to us? Henceforth, everyone shall call [us] by our people's original name, Manju. Uttering "Jurchen" will be a crime. Illustration of a Jurchen of the 14th century. A Jurchen man, Ming dynasty, 15th century. Late Ming dynasty depiction of a Jurchen tribesman. Painting of Nurharci, 17th century Qing dynasty [ edit ] Main article: Tifayifu (/wiki/Tifayifu) First half of 16th century [ edit ] The Manchu invaded the late Ming dynasty (/wiki/Ming_dynasty) and overthrew the Ming dynasty to establish the Qing dynasty (/wiki/Qing_dynasty) . [1] (#cite_note-:0-1) The Manchu, Mongol bannermen and Han bannermen in Later Jin (1616–1636) (/wiki/Later_Jin_(1616%E2%80%931636)) territories engaged in the practice of shaving their foreheads since 1616. When the Manchu arrived in Beijing, they passed the tifayifu policy (/wiki/Tifayifu) which required Han Chinese adult men (with the exceptions of specific group of people who were part of a mitigation policy advocated by Jin Zhijun, a former minister of the Ming dynasty who had surrendered in the Qing dynasty [4] (#cite_note-:2-4) [note 1] (#cite_note-29) ) to shave their hair (i.e. adopting the Manchu's queue (/wiki/Queue_(hairstyle)) as a mark of their submission to Qing dynasty rule [5] (#cite_note-:8-5) : 40–41 and dress in Manchu-style; the Han Chinese women were part of the exempted people and were therefore spared from the policy. [1] (#cite_note-:0-1) [4] (#cite_note-:2-4) Women in the Qing dynasty dressed accordingly to their husband's ranks. [29] (#cite_note-:4-30) According to Chinese customs, Han Chinese men were supposed to comb their long hair and hide it under caps. The Qing imposed the shaved head hairstyle on men of all ethnicities under its rule even before 1644 like upon the Nanai people (/wiki/Nanai_people) in the 1630s who had to shave their foreheads. [30] (#cite_note-31) [31] (#cite_note-32) The men of certain ethnicities who came under Qing rule later like Salar people (/wiki/Salar_people) and Uyghur people (/wiki/Uyghur_people) already shaved all their heads bald so the shaving order was redundant. [32] (#cite_note-33) However, the shaving policy was not enforced in the Tusi (/wiki/Tusi) autonomous chiefdoms in Southwestern China where many minorities lived. There was one Han Chinese Tusi, the Chiefdom of Kokang (/wiki/Chiefdom_of_Kokang) populated by Han Kokang people (/wiki/Kokang_people) . All members of the Eight Banners (/wiki/Eight_Banners) , regardless of their ethnic origins, were required to wear Manchu dress. [5] (#cite_note-:8-5) : 40 Banner women were not allowed to adopt Chinese customs such as foot binding (/wiki/Foot_binding) , wear single earrings, and wear Ming-style clothing with wide sleeves. [5] (#cite_note-:8-5) : 41 Qing Manchu prince Dorgon initially canceled the order for all men in Ming territories south of the Great wall (post 1644 additions to the Qing) to shave. It was a Han official from Shandong, Sun Zhixie and Li Ruolin who voluntarily shaved their foreheads and demanded Qing Prince Dorgon impose the queue hairstyle on the entire population which led to the queue order. [33] (#cite_note-34) [34] (#cite_note-35) Following their conquest of the Ming dynasty, the Manchu continued the wearing the Ming-style dragons robes but altered them by adding fur at the collar and cuff and sable at the skirts. [27] (#cite_note-:32-27) : 25 In 1636, a proclamation was passed to guide the principles that the Manchu rulers had to avoid adopting the traditional clothing dress code of the Ming dynasty with the Manchu rulers reminding their people that adopting Han Chinese customs of the Ming dynasty would make their people become unfamiliar with shooting and horseback riding. [7] (#cite_note-:9-7) Hong Taiji (/wiki/Hong_Taiji) who developed a dress code after 1636 stipulated that there was a direct connection between the adoption of Han Chinese's clothing, speech and sedentary lifestyle and the decline of the earlier Conquest dynasties (/wiki/Conquest_dynasty) ( Liao (/wiki/Liao_dynasty) , Jin (/wiki/Jin_dynasty_(1115%E2%80%931234)) , and Yuan (/wiki/Yuan_dynasty) ). [5] (#cite_note-:8-5) : 40 Manchu rulers also firmly rejected the adoption of Ming dynasty's court clothing and led to the executions of people who suggest adopting the Ming dynasty court dress. [5] (#cite_note-:8-5) : 40 [35] (#cite_note-:26-36) : 60–61 [note 2] (#cite_note-37) In 1637, Hong Taijji reminded his people that the "wide robes with broad sleeves" of the Ming dynasty were completely unsuitable to the Manchu lifestyle and expressed his worries that his descendants would forget the source of their greatness (i.e. Manchu conquests were founded on their horseback riding and their archery skills) and adopt Han Chinese customs. [5] (#cite_note-:8-5) : 40 In the same year, Manchu noblemen and women were ordered by the early Qing court to wear freshwater Manchurian pearls in their headwear, including hats and hairpieces. [27] (#cite_note-:32-27) : 28 After 1644, new revisions were made on the clothing regulations: 1st rank princes had to wear 10 Manchurian pearls on their head; 8 pearls for the 2nd rank princes; 7 for the 3rd rank princes; the number of numbers were graded down until the lowest-ranking aristocrats who were only allow to wear one single pearl. [27] (#cite_note-:32-27) : 28–29 Daisan (1583-1648) wearing an altered Ming dynasty dragon robe (jifu), 17th century Chaofu of Lin Yinzu, between 1629 and 1664 Jifu, Qing dynasty, 17th century Early design of the Qing dynasty dragon robe, 17th dynasty. [36] (#cite_note-38) [note 3] (#cite_note-39) Second half of 17th century to late 18th century [ edit ] In the early 1652, surcoats with insignia badges started to be worn to indicate the wearer's rank. [26] (#cite_note-:34-26) They were also wearing three-quarter length surcoats, called duanzhao, entirely lined with fur on cold weather days. [26] (#cite_note-:34-26) The duanzhao were considered luxurious, and they were eventually restricted to the members of the elites (nobles and officials of the top three ranks) and to the imperial guards; the type of fur and the lining colour was according to rank. [26] (#cite_note-:34-26) During the Kangxi (/wiki/Kangxi_Emperor) and Qianlong (/wiki/Qianlong_Emperor) periods, the Manchu clothing system was continuously improved. [2] (#cite_note-:1-2) During the Qianlong reign, some banner women transgressed the ban of wearing Hanfu and Han Chinese jewelries (specifically earrings). [5] (#cite_note-:8-5) : 41 [note 4] (#cite_note-40) . The Qianlong Emperor reiterated the warning of abandoning Manchu clothing to his descendants noting that every northern dynasties that had adopted Chinese robes had hats had died out within one generation after they had abandoned their native dress; [7] (#cite_note-:9-7) the Qianlong Emperor had cited Hong Taiji's earlier analogies. [5] (#cite_note-:8-5) : 40 The Manchu women's chanyi and chenyi (informal robes) both became popular in the reign of the Qianlong Emperor and were worn with a long neck ribbon called longhua (/wiki/Longhua_(collar)) . [29] (#cite_note-:4-30) Yinsi (/wiki/Yunsi) Man's jifu, first quarter of the 18th century Portrait of Shang Zhixin (/wiki/Shang_Zhixin) , second half of 17th century. Sunggan, late 1700s Liang Chaogui, between 1788 and 1794 Prince Yinzhi (/wiki/Yunzhi,_Prince_Cheng) , 3rd son of Kangxi Emperor Standardization of Manchu imperial and court clothing in Qing dynasty [ edit ] The Manchu rulers also established new dress code regulations codifying attire worn by the imperial family, the Qing dynasty court and their court officials to distinguish the members of the ruling elites from the general population. [29] (#cite_note-:4-30) The Board of Rites worked on the standardization of the Imperial clothing of the Qing dynasty. developing the sumptuary regulations (/wiki/Sumptuary_law) throughout the 17th and early 18th centuries. [9] (#cite_note-:7-9) : 147 The Board of Rites worked on ways to create distinctions between the clothing worn by the Emperors from other members of the political circle by limiting what people could wear and not wear; they also developed the imperial clothing by drawing on both the Manchu's and Han people's traditions. [9] (#cite_note-:7-9) : 147 It is however only in the Qianlong period (/wiki/Qianlong_Emperor) , that Imperial clothing became an amalgamation of Manchu-style tailoring with adopted Chinese designs. [9] (#cite_note-:7-9) : 147 The Qing Emperor would therefore be dressed in Chinese symbols and wear colours which reflect his rule as a Chinese emperor while at the same the tailoring of his robes would expressed his connection to the Manchu martial tradition of horse riding and archery. [9] (#cite_note-:7-9) : 147 The new dress code was found in the Huangchao liqi tushi ( lit. 'Illustrations of Imperial Ritual Paraphernalia') commissioned by the Qianlong Emperor by the year 1759 as he was concerned that the customs of the Manchu people would be diluted by the Han Chinese ways. [25] (#cite_note-:10-25) The twelve ornaments (/wiki/Twelve_Ornaments) were also reintroduced in 1759 and reappeared on the Qing dynasty court robes, first on the chaofu and later on the jifu. [25] (#cite_note-:10-25) The Huangchao liqi tushi was therefore published and enforced by the year 1766; it contained a long section regulating the clothing worn by the emperors, princes, noblemen and their consorts, Manchu officials along with their wives and daughters, and also stipulated the dress code for Han Chinese men who became a mandarin (/wiki/Mandarin_(bureaucrat)) and were serving the Manchu court, along with their wives and by the people who were waiting for an appointment. [25] (#cite_note-:10-25) The stipulated clothing was divided into official and unofficial clothing and was then subdivided into formal, semiformal and informal categories: formal official clothing and semiformal clothing were worn at the court; informal official clothing was worn when travelling on official business, when attending court entertainment and on important domestic occasions; non-official formal clothing was worn on family occasions. [25] (#cite_note-:10-25) Clothes were also regulated by the seasons. [25] (#cite_note-:10-25) End of 18th century to first half of 19th century [ edit ] In the Jiaqing (/wiki/Jiaqing_Emperor) and Daoguang (/wiki/Daoguang_Emperor) period, Manchu clothing evolved and more decorations were used to adorn women's clothing. [2] (#cite_note-:1-2) By the mid-19th century, the matixiu ( Chinese (/wiki/Chinese_language) : 马蹄袖 ; pinyin (/wiki/Pinyin) : mǎtíxiù ; lit. 'horse hoof cuff') sleeve cuffs of Manchu women's robe became wider and the size of the cuff also became bigger, particularly on the formal festive coats worn by Manchu court women. [7] (#cite_note-:9-7) Second half of 19th century [ edit ] Wen-siang, between 1868 and 1870 Manchu lady, between 1871 and 1872. 1899 A Manchu woman's chenyi robe, 1875–99. 20th century [ edit ] Manchu people, 1906 Mongol noble (/wiki/Mongolian_nobility) wore Qing-style clothing, 1910 Republic of China [ edit ] By 1911, the topple of the last Qing dynasty Emperor (/wiki/Puyi) Puyi by Sun Yat-sen (/wiki/Sun_Yat-sen) and the demise of the Qing court led to the extinction of the Qing dynasty sartorial regulations. [37] (#cite_note-:31-41) : 34 When the Republic of China (/wiki/Republic_of_China_(1912%E2%80%931949)) was established, men all over China cut their queues and wore Western-style clothing. [37] (#cite_note-:31-41) : 34 [38] (#cite_note-42) : 343 The Northern Expedition (/wiki/Northern_Expedition) entered Beijing in 1928 and held disdain towards the city; their soldiers treated people who worked in the old government as captives and wanted to "wipe out everything": they banned Manchu women's hairstyles and the wearing of magua; they also prohibited temple fairs to follow the Chinese calendar (/wiki/Chinese_calendar) . [39] (#cite_note-43) : 87 Types [ edit ] According to the Manchu tradition, the outerwear of both men and women includes a full-length robe with a jacket or a vest while short coats and trousers are worn as inner garments. [3] (#cite_note-:6-3) During the Qing dynasty, new types of clothing with elements and features which referred to the Manchu tradition also appeared, leading to changes in the cut of the formal and semi-formal attire worn by both the Manchu and the Han Chinese; for example, the Manchu robes closed to the right side of their body, 4-slits at the bottom of their garments (while the Han Chinese only wore two) which facilitated horse riding, the shape of the sleeves were changed from long and wide to narrow. [6] (#cite_note-:3-6) Some sleeves had matixiu cuffs. [6] (#cite_note-:3-6) Some court dress of the Qing dynasty preserved features and characteristics which are distinct the clothing worn by the Manchu prior to the conquest of the Ming dynasty. [5] (#cite_note-:8-5) : 42 The Qing dynasty officials wore court dresses, which were also variants of Manchu clothing at the court. [5] (#cite_note-:8-5) : 41 Some court clothing worn in the Qing dynasty were also adopted from the Han Chinese's court clothing (especially from the Ming dynasty when the early Qing emperors adopted the Ming dynasty institutions and bureaucratic system [40] (#cite_note-:38-44) ) but was refitted to show Manchu characteristics. [29] (#cite_note-:4-30) Court clothing also adopted the Han Chinese adornment designs and decorations (e.g. the use of Chinese dragons (/wiki/Chinese_dragon) , the Twelve symbols of sovereignty (/wiki/Twelve_Ornaments) ), [29] (#cite_note-:4-30) and the use of the Five colours symbolism (/wiki/Color_in_Chinese_culture) (e.g. the colour blue was adopted as the Manchu's dynastic colour while red was avoided as it had been the dynastic colour of the Ming dynasty). [25] (#cite_note-:10-25) [40] (#cite_note-:38-44) Formal court dress/ Lifu / Chaofu [ edit ] See also: terlig (/wiki/Terlig) , Dragon robe (/wiki/Dragon_robe) , and Mangfu (/wiki/Mangfu) Lifu (礼服, lit "ritual dress") were the ceremonial or formal court dress; they were characterized by matixiu cuffs [41] (#cite_note-:36-45) : 21–22 and were the most conservative in preserving Manchu clothing features. [5] (#cite_note-:8-5) : 41–42 Chaofu (朝服, lit. "court dress"), also known as "Audience robe", [42] (#cite_note-:22-46) or "Robe of State", [43] (#cite_note-:23-47) are official formal court dress (lifu). They are worn by the emperors and court officials on the most solemn state ceremonies; such as on the day of the Emperor's ascension on the throne, imperial weddings, birthdays, New Year, winter solstices, and sacrifices to Heaven and Earth. [29] (#cite_note-:4-30) The Qing chaofu for men was developed based on the dress of the Ming dynasty court dress; it however had additional distinctive features, such as the Manchu matixiu cuffs in its chaopao, and plain cloth insertions at the sleeves, and the shape of the collar. [29] (#cite_note-:4-30) The chaofu of for men consists of a robe, called chaopao (lit. "court robe (/wiki/Paofu) "); there was form of summer-style chaofu and two forms of winter-style chaofu. [25] (#cite_note-:10-25) The chaopao worn with the ceremonial collar, called piling (披领) [29] (#cite_note-:4-30) or pijian, around the neck. [25] (#cite_note-:10-25) [44] (#cite_note-:30-48) : 22 The emperor, princes, noblemen and high officials wore hats, called chaoguan , which were regulated and worn accordingly to the seasons (winter and summer), ranks, and gender. [25] (#cite_note-:10-25) The colours were bright yellow for the emperor, apricot yellow (杏黃 xinghuang) for the heir apparent (crown prince); golden yellow (jinhuang, which looks closer to orange in colour rather than yellow) for other sons of the emperor. [25] (#cite_note-:10-25) [note 5] (#cite_note-49) The first to fourth degrees princes and imperial dukes had to wear blue, brown or any other colour unless the Emperor bestowed them with a golden yellow robe. [25] (#cite_note-:10-25) Blue black was the colour worn by the lower-ranking princes, noblemen, and high-ranking officials. [25] (#cite_note-:10-25) Chaofu for men Rank Description Colour Images Winter-style Summer-style Emperor 5-clawed dragon, including the twelve symbols [25] (#cite_note-:10-25) [45] (#cite_note-:28-50) The first winter style is similar to the summer-style chaofu but has is trimmed with fur. [25] (#cite_note-:10-25) The second winter-style is lined with sable on cuff, side-fastening edge, and collar. It was trimmed with a deep band of fur round the hem. [25] (#cite_note-:10-25) It is typically bright yellow (the colour reserved for the emperor), but the emperor was allowed to wear other colours; other colours of chaofu is also used if the ceremonial occasions requires it. [25] (#cite_note-:10-25) First to fourth degrees princes and imperial dukes [25] (#cite_note-:10-25) Blue Between third degree prince and fourth degree official The mid-18th century sumptuary laws stipulated that only the emperor and heir apparent could wear robes with five-clawed dragons (/wiki/Dragon_robe) , but in the 19th century, these regulations were often not observed. [42] (#cite_note-:22-46) Other people were actually supposed to wear four-clawed dragons robes ( mangfu (/wiki/Mangfu) ). [43] (#cite_note-:23-47) Dark blue [42] (#cite_note-:22-46) chaopao with either 4-clawed or 5-clawed dragons Qing nobles, high-ranking civil officials and military officials, and imperial guards. Blue black chaopao with either 4-clawed or 5-clawed dragons [43] (#cite_note-:23-47) Chaofu for women consisted of a chaopao, a chaogua (朝褂), and a skirt which is worn under the chaopao called chaoqun (朝裙). [25] (#cite_note-:10-25) The chaopao, is a formal court robe for women, which is characterized with L-shaped seamed between the collar and the underarm fastening. [46] (#cite_note-:29-51) The chaogua is a long-length court vest worn over the chaopao. [25] (#cite_note-:10-25) It has deep arm openings and sloping shoulder seams [47] (#cite_note-:27-52) : 58 and opens in the front. [25] (#cite_note-:10-25) It originated from a Ming dynasty vest worn by the Ming empresses; the deep cut arm openings and sloping shoulders however appears to have been derived from animal skin constructions. [25] (#cite_note-:10-25) Chaofu for women Rank Description Images Chaogua Chaopao Winter Summer Winter Summer Empress dowager Empress Imperial noble consorts Noble consorts, consorts, imperial concubines Consorts of the crown prince The chaopao is ripe apricot (i.e. orange-yellow) in colour [46] (#cite_note-:29-51) Imperial princess Festive robe/ Jifu [ edit ] Jifu ( Chinese (/wiki/Chinese_language) : 吉服 ; lit. 'Auspicious dress'), also known as festive robe, used for happy festivals and ceremonies (like a banquet). [48] (#cite_note-53) Jifu longpao and jifu mangpao [ edit ] The jifu Dragon robes (/wiki/Dragon_robe) ( Chinese (/wiki/Traditional_Chinese_characters) : 龍袍 ; pinyin (/wiki/Pinyin) : longpao ; 5-clawed dragons) and the jifu Python robes (/wiki/Mangfu) (mangpao; robes with 4-clawed dragons), [29] (#cite_note-:4-30) [25] (#cite_note-:10-25) were used for various ceremonies (such as festival banquets and military inspections), [25] (#cite_note-:10-25) [40] (#cite_note-:38-44) [45] (#cite_note-:28-50) as semi-formal court dress. They were worn by the members of the imperial family and lower-ranking officials. [25] (#cite_note-:10-25) Prior to the 1759 sumptuary regulations, the jifu followed the Manchu-style cut and had to comply to the laws regarding colours and the dragon-claws number; however, the distribution of dragon patterns on the jifu were not regulated and the early Qing dynasty's robe followed the Ming tradition of having large curling dragons over the chest and back regions. [25] (#cite_note-:10-25) Women also wore jifu dragon robes and python robes as a semiformal court dress. By the mid-19th century, the matixiu ( Chinese (/wiki/Chinese_language) : 马蹄袖 ; pinyin (/wiki/Pinyin) : mǎtíxiù ; lit. 'horse hoof cuff') sleeve cuffs of Manchu women's robe became wider and the size of the cuff also became bigger, particularly on the formal festive coats worn by Manchu court women. [7] (#cite_note-:9-7) The 5-clawed dragons were used for the emperor, his heir apparent, the high-ranking princes and some lesser officials whom the emperor would bestow the 5-clawed dragons to them. [25] (#cite_note-:10-25) The 4-clawed dragons were worn by third ranking princes and anyone below this rank. [25] (#cite_note-:10-25) Those rules were eventually disregarded near the end of the Qing dynasty; and, jifu with five-claws dragons started to be worn by anyone regardless of ranks. [25] (#cite_note-:10-25) The colours were bright yellow for the emperor, apricot yellow (杏黃 xinghuang) for the heir apparent (crown prince); golden yellow (jinhuang, which looks closer to orange in colour rather than yellow) for other sons of the emperor. [25] (#cite_note-:10-25) [note 6] (#cite_note-54) The first to fourth degrees princes and imperial dukes had to wear blue, brown or any other colour unless the Emperor bestowed them with a golden yellow robe. [25] (#cite_note-:10-25) Blue black was the colour worn by the lower-ranking princes, noblemen, and high-ranking officials. [25] (#cite_note-:10-25) Longpao Name Rank Description Images Longpao Emperor The emperor's jifu were decorated with the 12 symbols and were embroidered with a 5-clawed dragon; thus making it a dragon robe (/wiki/Dragon_robe) . [45] (#cite_note-:28-50) It is bright yellow, but it can also come in other colours. Empress Dowager/ Empress Imperial Crown prince 5-clawed dragon. It is apricot yellow (杏黃 xinghuang) in colour. Empress or lower rank imperial consort Five-clawed golden dragons [49] (#cite_note-55) 5-clawed dragon, blue 5-clawed, brown 5-clawed dragon 5-clawed dragon; blue black Mangpao Name Rank Description Images Mangpao 4-clawed dragon, blue Jifupao [ edit ] On wedding and major family occasions unrelated to the court, jifupao (吉服袍 [50] (#cite_note-56) ) typically have matixiu cuffs and were almost the same as jifu longpao/mangpao. [25] (#cite_note-:10-25) Noblemen women and wives of officials would wear robes with eight roundels with the Chinese character shou (/wiki/Shou_(character)) ( Chinese (/wiki/Chinese_language) : 壽 ; pinyin (/wiki/Pinyin) : shòu ; lit. 'longevity') and other motifs; they were worn with a surcoat (jifugua) decorated with 8 roundels with shou or floral patterns. [25] (#cite_note-:10-25) Both the robe and surcoat could be decorated with or without lishui (/wiki/Lishui_(sea-waves)) at the hem and cuffs. [25] (#cite_note-:10-25) Jifupao Name Rank Description Images Jifupao Noble women/ Wives of officials Eight roundels with the Chinese character shou (/wiki/Shou_(character)) ( Chinese (/wiki/Chinese_language) : 壽 ; pinyin (/wiki/Pinyin) : shòu ; lit. 'longevity' or other motifs; can be used for wedding. [25] (#cite_note-:10-25) Roundels with crane and gourd (symbol of longevity), most likely used for birthdays. [51] (#cite_note-57) Longgua/ Jifu gua [ edit ] Longgua , also known as jifu gua (吉服褂), was the woman's surcoat worn over a semi-formal dragon robe (jifu; i.e. the festive robe). [29] (#cite_note-:4-30) [52] (#cite_note-:5-58) When the Manchu established the Qing dynasty, they incorporated roundels with dragons in their official court dress. [52] (#cite_note-:5-58) After the standardization of dress code in the mid 18th century, longgua with 8 dragon roundels became reserved for the empress dowager, empress, imperials concubines (first, second, and third ranks) and for the consort of the crown prince. [52] (#cite_note-:5-58) Name Rank Description Images Longgua Empress Dowager Empress Imperial consort Imperial princess Jifu gua Wife of imperial prince/ high-ranking clan member/ Manchu official Roundels with 5 cranes were possibly worn by the wife of an imperial prince, a high-ranking clan member, or a Manchu official, possibly worn for birthdays. [53] (#cite_note-59) Noble women/ Wives of officials Eight roundels with the Chinese character shou (/wiki/Shou_(character)) ( Chinese (/wiki/Chinese_language) : 壽 ; pinyin (/wiki/Pinyin) : shòu ; lit. 'longevity' or other motifs; can be used for wedding. [25] (#cite_note-:10-25) Roundels with crane and gourd (symbol of longevity), most likely used for birthdays. [54] (#cite_note-60) Gunfu [ edit ] Gunfu was a form of surcoat with circular embroidered roundel, which was part of the official court dress since 1759; it was worn over the chaofu or jifu. [25] (#cite_note-:10-25) It is calf-length and made of plain satin; it closes at the front. [25] (#cite_note-:10-25) It was worn by the imperial family; people from the higher ranks would wear five-clawed dragons which face to the front while those from the lower ranks would wear five-clawed dragons in profile. [25] (#cite_note-:10-25) Rank Description Images Members of imperial family [25] (#cite_note-:10-25) Four circular roundels (on the chest, back and shoulders). [25] (#cite_note-:10-25) Noble Bufu [ edit ] Bufu ( Chinese (/wiki/Chinese_language) : 補服 ; pinyin (/wiki/Pinyin) : Bǔfú ) was worn with the jifu by the Qing dynasty Court officials (both military and civil) [5] (#cite_note-:8-5) : 42 [40] (#cite_note-:38-44) [55] (#cite_note-:24-61) and by the Censorate (/wiki/Censorate) Civil Bureaucrats. [56] (#cite_note-:25-62) The bufu was the man's surcoat with a square-shape court insignia, called buzi (/wiki/Mandarin_square) . [29] (#cite_note-:4-30) There is one rank insignia on the front and one on the back of the bufu. [55] (#cite_note-:24-61) Civil officials typically wear rank badges with bird designs; military officials wore rank badges with beasts (or animals) designs, and the Censorate (/wiki/Censorate) Civil Bureaucrats wear rank badges with xiezhi (/wiki/Xiezhi) . [55] (#cite_note-:24-61) [56] (#cite_note-:25-62) The use of buzi on clothing is a continuation of the Ming dynasty court clothing tradition. [5] (#cite_note-:8-5) : 42 Women also wore bufu which would often be the mirror image found on the insignia used on her husband's bufu; therefore, when they sat together, the animals would face towards each other symbolizing marital harmony. [57] (#cite_note-63) [56] (#cite_note-:25-62) Dragon or python (/wiki/Mangfu) would be worn on the buzi of the imperial dukes and noblemen. [25] (#cite_note-:10-25) Lower-ranking noblemen who were not allowed to wear clawed dragons would wear buzi with hoofed dragon near the end of the 19th century. [25] (#cite_note-:10-25) Rank Description Images Imperial dukes or noblemen Python/Mang Civil officials wore rank badges with bird designs. 1st rank Crane (/wiki/Crane_in_Chinese_mythology) 2nd rank Golden pheasant 3rd rank Peacock 4th rank Wild goose 5th rank Silver pheasant 6th rank Egret 7th rank Mandarin duck 8th rank Quail 9th rank Paradise flycatcher Military officials 1st rank Qilin 2nd rank Lion 3rd rank Leopard 4th rank Tiger 5th rank Bear 6th rank Panther [note 7] (#cite_note-64) 7th rank Panther/ Rhinoceros [note 8] (#cite_note-65) 8th rank Rhinoceros [note 9] (#cite_note-66) 9th rank Sea horse Censorate (/wiki/Censorate) Civil Bureaucrats [56] (#cite_note-:25-62) Xiezhi (/wiki/Xiezhi) Fur surcoats/ duanzhao (端罩) [ edit ] Fur surcoats were typically worn by high-ranking officials over the winter jifu. [25] (#cite_note-:10-25) Portrait of Shi Wenying wearing a fur surcoat. Qing nobleman in winter coat, 1860s Yinli wearing duanzhao Ordinary dress (Changfu)/ casual dress (Bianfu) [ edit ] Main article: Bijia (/wiki/Bijia) Changfu (常服), also known as "ordinary dress", [25] (#cite_note-:10-25) [5] (#cite_note-:8-5) : 41 Changfu was typically characterized by matixiu cuffs. [41] (#cite_note-:36-45) : 21–22 The informal official clothing was worn for occasions which are not major ceremonies or government business. [25] (#cite_note-:10-25) Semiformal non-official dress for women were lavishly decorated with embroidery and used contrasting borders by the mid-19th century reflecting the influence of Han Chinese culture. [25] (#cite_note-:10-25) A Manchu family wearing bianfu, Qing dynasty. Bianfu (便服) are forms of ordinary wear, [5] (#cite_note-:8-5) : 41 used as everyday and leisure wear as casual clothing and were not regulated by the Qing court. [41] (#cite_note-:36-45) : 22 [58] (#cite_note-:37-67) They typically did not feature matixiu cuffs. [41] (#cite_note-:36-45) : 21–22 List of changfu & bianfu Name Rank/ gender Description Images Changfu Semiformal non-official Bianfu Changfu pao (常服袍)/ Neitao Emperor Neitao is long-sleeved and have narrow matixiu cuffs and 4 splits (side of robes, front and back) which provided greater ease of movement when mounting and dismounting their horses; it was originally a Manchu garment, made of plain long gown of silk. [25] (#cite_note-:10-25) They were mostly plain or self-patterned. [58] (#cite_note-:37-67) Structurally, it looks similar to the jifu; it is typically blue, grey, and reddish brown in colour. [25] (#cite_note-:10-25) There were no strict rules related to their colour. Military mandarin [25] (#cite_note-:10-25) [note 10] (#cite_note-68) Men Changfu pao (常服袍) Imperial women Changfupao looked similar to the longpao jifu, with matixiu cuffs, they were made of plain silk (some had with embroidered dragons at the neck opening and sleeves). [25] (#cite_note-:10-25) It could be decorated with woven dragon roundels. [25] (#cite_note-:10-25) Changyi (氅衣) Women A form of Manchu's women informal dress and leisure dress worn by imperial consorts. [58] (#cite_note-:37-67) They were worn with a long neck ribbon, called longhua (/wiki/Longhua_(collar)) . [29] (#cite_note-:4-30) The changyi had slits on both sides which facilitated body movements. [29] (#cite_note-:4-30) Chenyi Women Chenyi is a type of Manchu's women informal dress and leisure clothing worn by imperial consorts; the dress is one-piece and has no slit on either sides. [1] (#cite_note-:0-1) [58] (#cite_note-:37-67) It is round neck, with a panel of fabric which crosses from the left to the right side; it is fastened at the right side with 5 buttons and loops; they are relatively straight body shaped in cut and have full sleeves. [29] (#cite_note-:4-30) It was also worn with a long neck ribbon, called longhua (/wiki/Longhua_(collar)) . [29] (#cite_note-:4-30) Phoenix robes Empress/Empress dowager The phoenix robe is worn by the Qing dynasty empress/ empress dowager. [59] (#cite_note-69) [22] (#cite_note-:39-22) : 180–181 They were worn as an informal court dress. [60] (#cite_note-70) Magua (/wiki/Magua_(clothing)) Men An over jacket for Manchu men; in the late 17th century, it became widespread for non-Manchu men in China. [61] (#cite_note-71) : 299 The sleeves are elbow-length; the length of the magua could range from waist-length to knee-length; it has front opening. [26] (#cite_note-:34-26) : 9 Men and women Yellow magua (/wiki/Imperial_yellow_jacket) Changfu gua (常服褂) Men A form of outerjacket with front opening which closes with button; it can be found in azurite blue colour (石青色) or black. [62] (#cite_note-:35-72) It is worn over the changfu robes (常服袍). [62] (#cite_note-:35-72) Women Kanjia/ Majia Women Informal vest for Manchu women The pipa vest is a common type of vest for Manchu women; its origins appear to be related to Manchu's informal magua, which was cut short on the front left side to facilitate horse mounting. [44] (#cite_note-:30-48) : 55 Men Xinfu [ edit ] Xinfu (行服) are travel clothing which were typically used on surveying trips and hunting excursions which usually involves horse riding and archery. Most of xinfu are plain in colour and lacks elaborate decorations. [58] (#cite_note-:37-67) Headwear and hairstyles [ edit ] Hairstyles [ edit ] Liangbatou (/wiki/Liangbatou) [35] (#cite_note-:26-36) : 62 Qitou [2] (#cite_note-:1-2) Queue (/wiki/Queue_(hairstyle)) - It is the original male hairstyle of the Manchu; it was also a variant of the Jurchen queue. [35] (#cite_note-:26-36) : 60 Headwear [ edit ] Dianzi (鈿子) - Informal festive Manchu headdress, used for on festive occasions such as birthdays, ceremonies, and New Year celebrations. [25] (#cite_note-:10-25) Qing official headwear (/wiki/Qing_official_headwear) Hat worn by a 6th-rank civil official, China, Qing dynasty, late 19th to early 20th century AD. Darhan (https://zh.wikipedia.org/wiki/%E9%81%94%E7%88%BE%E6%BC%A2) Dawachi (/wiki/Dawachi) of the Dzungar Khanate (/wiki/Dzungar_Khanate) in Qing court attire, by Jean Denis Attiret (/wiki/Jean_Denis_Attiret) Dianzi purportedly belonging to Empress Dowager Cixi (/wiki/Empress_Dowager_Cixi) ( Walters Art Museum (/wiki/Walters_Art_Museum) ) "La concubine" by Jean Denis Attiret (/wiki/Jean_Denis_Attiret) , with the subject (purportedly Step Empress (/wiki/Empress_Nara) ) in winter-style (fur-lined) jifu . The hat is called jifuguan (吉服冠) Detail of Empress Xiaozhuangwen (/wiki/Empress_Dowager_Xiaozhuang) 's official portrait showing her chaoguan (朝冠) with kingfisher feather inlay (/wiki/Tian-tsui) Detail of Princess Shouzang of the Second Rank (https://zh.wikipedia.org/wiki/%E5%A3%BD%E8%87%A7%E5%92%8C%E7%A2%A9%E5%85%AC%E4%B8%BB) ( Daoguang Emperor (/wiki/Daoguang_Emperor) 's daughter)'s official portrait in winter-style chaofu Detail of Empress Xiaoshurui (/wiki/Empress_Xiaoshurui) 's official portrait in winter-style chaofu Footwear [ edit ] Manchu women did not practice foot binding; [29] (#cite_note-:4-30) [8] (#cite_note-:33-8) : 59 Banner women were also forbidden from adopting foot binding customs [5] (#cite_note-:8-5) : 41 although some Manchu women did transgress this rule. [8] (#cite_note-:33-8) : 341 Manchu shoes for Manchu women include Manchu platform shoes (/wiki/Manchu_platform_shoes) , which were used to emulate the bound feet gait of the Han Chinese. [8] (#cite_note-:33-8) : 341 Accessories [ edit ] Chaodai: A man's woven silk belt. [47] (#cite_note-:27-52) : 58 Chaozhu (/wiki/Chaozhu) Earrings (/wiki/Earring) : Manchu and Banner women wore three earrings at each ear (which was reinforced by Qianlong's edict of "一耳三鉗" ( pinyin (/wiki/Pinyin) : yīěr sānqián ; lit. 'one ear three pincers')) while Han Chinese women would wear a single earring. [5] (#cite_note-:8-5) : 41 Fadu (/wiki/Hebao) Lingtou: a small, plain, stiffed collar, which was worn over the collar of garments (such as surcoats, jifu and other informal clothing). [25] (#cite_note-:10-25) Longhua (/wiki/Longhua_(collar)) Piling (披领) – ceremonial collar. [29] (#cite_note-:4-30) Yajin (/wiki/Yajin) Piling collar Detail of Empress Xiaogongren (/wiki/Empress_Xiaogongren) 's official portrait showing three earrings on each ear (一耳三鉗) Chaozhu (/wiki/Chaozhu) , Qing dynasty court necklace. Derivatives and influences [ edit ] China [ edit ] Changshan [ edit ] Main article: changshan (/wiki/Changshan) Changshan of the Qing dynasty The changshan (/wiki/Changshan) , also known as changpao (lit. "long shirt/ long gown"), worn by the Han Chinese was a derivative of the Ming dynasty clothing [25] (#cite_note-:10-25) but was modelled after the Manchu men's robe. [1] (#cite_note-:0-1) It thus adopted Manchu clothing elements by slimming their Ming dynasty's changshan, by adopting the pipa-shaped collar, and by adopting the use of loops and buttons. [25] (#cite_note-:10-25) Compared to the neitao, the changshan was adapted to a sedentary lifestyle and thus only had two slits on the side instead four. and lacked the matixiu cuffs [25] (#cite_note-:10-25) The changshan was worn by Chinese men who did not engage in labour work. [1] (#cite_note-:0-1) Cheongsam [ edit ] Main article: Cheongsam (/wiki/Cheongsam) The cheongsam was a derivative of the Manchu robe. [7] (#cite_note-:9-7) Tangzhuang [ edit ] Main article: Tangzhuang (/wiki/Tangzhuang) Korea [ edit ] Main article: Magoja (/wiki/Magoja) Gallery [ edit ] A young Manchu man dressed in traditional clothes. See also [ edit ] Hanfu (/wiki/Han_Chinese_clothing) Hufu (/wiki/Hufu) Manchu people (/wiki/Manchu_people) Tifayifu (/wiki/Tifayifu) Notes [ edit ] ^ (#cite_ref-29) The mitigation policy stipulates 10 rules which are not all related to clothing: 1. Men had to shave and braid their hair and wear Manchu clothes, while women could wear their original hairstyle and wear hanfu; 2. A living man had to wear Manchu clothing, but after his death, he was allowed to be buried in Hanfu-style clothing; 3. There is no reason to follow the customs of the Manchu people for the affairs of the Underworld and can continue to follow Buddhist and Taoist customs; 4. The officials must wear Qing official uniforms but the slaves can still wear Ming style clothing; 5. A child does not need to follow the rules of Manchu but when he grows up, he needs to follow the rules of the Manchu; 6. Ordinary people have to wear Manchu clothing, shave their hair and wear braids, but Monks are allowed to wear Ming and Hanfu-style clothing; 7. prostitutes have to wear clothing required by the Qing court, but actors are free to wear clothes of other clothes due to the role of the ancients; 8. Official management follow the system of the Qing dynasty, while marriage ceremony keep the old system of the Han people; 9. The State title changed from Ming to Qing, but the official title names remain; Taxes and official services follow the Manchu system but the language remains Chinese. ^ (#cite_ref-37) In 1654, Chen Mingxia was impeached and executed for suggesting that the Qing court had to adopt Ming dynasty clothing in order to "bring peace to the empire". Liu Zhenyu was executed for urging the return of Ming style fashion under the reign of the Qianlong Emperor. ^ (#cite_ref-39) This size of dragon compared to the garment is a continuation of the Ming dynasty design style. ^ (#cite_ref-40) In 1175, it was observed that bondservant daughters were wearing a single pendant earring instead of three (which is the Manchu custom) ^ (#cite_ref-49) Although bright yellow was reserved for the Emperor, he was actually allowed to wear whatever other colours he wanted or wear the appropriate colours based on the occasions, e.g. the Emperor can wear blue robes when worshiping at the Altar of Heaven ceremony. ^ (#cite_ref-54) Although bright yellow was reserved for the Emperor, he was actually allowed to wear whatever other colours he wanted or wear the appropriate colours based on the occasions, e.g. the Emperor can wear blue robes when worshiping at the Altar of Heaven ceremony. ^ (#cite_ref-64) Prior to 1759, it was the symbol of both the 6th and 7th rank. From 1759, it became exclusively a representation of the 6th rank ^ (#cite_ref-65) Prior to 1759, it was symbolized by a panther. ^ (#cite_ref-66) Prior to 1759, only the 8th rank was represented by a rhinoceros ^ (#cite_ref-68) Neitao for military mandarin features an extra panel found at lower hem at the right side, which is fastened with loops and ball. This extra panel is removable, e.g. when horseback riding References [ edit ] ^ Jump up to: a b c d e f g h i j Han, Qingxuan (2019-01-01). "Qipao and Female Fashion in Republican China and Shanghai (1912-1937): the Discovery and Expression of Individuality" (https://digitalcommons.bard.edu/senproj_f2019/37) . Senior Projects Fall 2019 . ^ Jump up to: a b c d e f g h i j k Tong, Ningning; Yuan, Songmei (2015). "Study of the Strategies for the Digital Communication of the Manchu Costumes under the Theory of Media Extension" (https://www.atlantis-press.com/proceedings/emim-15/21512) . Proceedings of the 2015 International Conference on Education, Management, Information and Medicine . Vol. 8. Atlantis Press. pp. 714–718. doi (/wiki/Doi_(identifier)) : 10.2991/emim-15.2015.141 (https://doi.org/10.2991%2Femim-15.2015.141) . ISBN (/wiki/ISBN_(identifier)) 978-94-6252-068-4 . ^ Jump up to: a b c "Manchu Style" (https://exhibits.library.cornell.edu/chinese-traditional-dress/feature/manchu-style) . Chinese Traditional Dress - Online exhibitions across Cornell University Library . 2020-03-31 . Retrieved 2022-05-12 . ^ Jump up to: a b c d e f g h i Su, Wenhao (2019). "Study on the Inheritance and Cultural Creation of Manchu Qipao Culture" (https://www.atlantis-press.com/proceedings/icassee-19/125923391) . Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019) . Atlantis Press. pp. 208–211. doi (/wiki/Doi_(identifier)) : 10.2991/icassee-19.2019.41 (https://doi.org/10.2991%2Ficassee-19.2019.41) . ISBN (/wiki/ISBN_(identifier)) 978-94-6252-837-6 . S2CID (/wiki/S2CID_(identifier)) 213865603 (https://api.semanticscholar.org/CorpusID:213865603) . ^ Jump up to: a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac Rawski, Evelyn Sakakida (1998). The last emperors : a social history of Qing imperial institutions . Berkeley: University of California Press. ISBN (/wiki/ISBN_(identifier)) 0-520-21289-4 . OCLC (/wiki/OCLC_(identifier)) 37801358 (https://www.worldcat.org/oclc/37801358) . ^ Jump up to: a b c d e f "The collection of Chinese clothing from the Qing Dynasty - National Museum in Krakow" (http://mnk.pl/collection/the-collection-of-chinese-clothing-from-the-qing-dynasty) . mnk.pl . Retrieved 2022-05-12 . ^ Jump up to: a b c d e f g h i "Turn back your cuffs" (https://johnevollmer.com/chinese-dress/turn-back-your-cuffs/) . John E. Vollmer . 2017-10-16 . Retrieved 2022-05-15 . ^ Jump up to: a b c d e f g Smith, Richard J. (2015). The Qing Dynasty and traditional Chinese culture . Lanham. ISBN (/wiki/ISBN_(identifier)) 978-1-4422-2192-5 . OCLC (/wiki/OCLC_(identifier)) 898910891 (https://www.worldcat.org/oclc/898910891) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) ^ Jump up to: a b c d e f Keliher, Macabe (2020). The Board of Rites and the making of Qing China . Oakland, California. ISBN (/wiki/ISBN_(identifier)) 978-0-520-97176-9 . OCLC (/wiki/OCLC_(identifier)) 1090283580 (https://www.worldcat.org/oclc/1090283580) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) ^ (#cite_ref-10) Major, John S. (1993). Heaven and earth in early Han thought : chapters three, four and five of the Huainanzi . 安(前179-前122) 劉. Albany: State University of New York Press. ISBN (/wiki/ISBN_(identifier)) 0-7914-1585-6 . OCLC (/wiki/OCLC_(identifier)) 26588471 (https://www.worldcat.org/oclc/26588471) . ^ Jump up to: a b c d Fu, Yuguang (2020). Shamanic and mythic cultures of ethnic peoples in northern China . Andover. ISBN (/wiki/ISBN_(identifier)) 978-1-003-13240-0 . OCLC (/wiki/OCLC_(identifier)) 1249021960 (https://www.worldcat.org/oclc/1249021960) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) ^ (#cite_ref-12) Guo, Shuyun; 郭淑云 (2018). "Wubuxi ben ma ma" yan jiu (Di 1 ban ed.). Shenyang. ISBN (/wiki/ISBN_(identifier)) 978-7-5652-2864-3 . OCLC (/wiki/OCLC_(identifier)) 1100443868 (https://www.worldcat.org/oclc/1100443868) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) ^ Jump up to: a b c Encyclopedia of Chinese history . Michael Dillon. New York, NY. 2016. ISBN (/wiki/ISBN_(identifier)) 978-1-317-81716-1 . OCLC (/wiki/OCLC_(identifier)) 965196638 (https://www.worldcat.org/oclc/965196638) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) CS1 maint: others ( link (/wiki/Category:CS1_maint:_others) ) ^ Jump up to: a b c Lee, Ki-baik (1984). A new history of Korea . Seoul Korea: Ilchokak, Publishers. ISBN (/wiki/ISBN_(identifier)) 89-337-0204-0 . OCLC (/wiki/OCLC_(identifier)) 36540801 (https://www.worldcat.org/oclc/36540801) . ^ Jump up to: a b Rawski, Evelyn Sakakida (2015). Early Modern China and Northeast Asia : Cross-Border Perspectives . Cambridge. ISBN (/wiki/ISBN_(identifier)) 978-1-107-09308-9 . OCLC (/wiki/OCLC_(identifier)) 910239344 (https://www.worldcat.org/oclc/910239344) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) ^ Jump up to: a b A new history of Parhae . John B. Duncan, Tongbuga Yŏksa Chaedan, Tongbuga Yo⁺їksa Chaedan. Leiden: Global Oriental. 2012. ISBN (/wiki/ISBN_(identifier)) 978-90-04-24299-9 . OCLC (/wiki/OCLC_(identifier)) 864678409 (https://www.worldcat.org/oclc/864678409) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: others ( link (/wiki/Category:CS1_maint:_others) ) ^ Jump up to: a b c d e f g Zhu, Ruixi (2016). A social history of middle-period China : the Song, Liao, Western Xia and Jin dynasties . Bangwei Zhang, Fusheng Liu, Chongbang Cai, Zengyu Wang, Peter Ditmanson, Bang Qian Zhu (Updated ed.). Cambridge, United Kingdom. ISBN (/wiki/ISBN_(identifier)) 978-1-107-16786-5 . OCLC (/wiki/OCLC_(identifier)) 953576345 (https://www.worldcat.org/oclc/953576345) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) ^ Jump up to: a b China : five thousand years of history and civilization . Lang Ye, Zhenggang Fei, Tianyou Wang. Kowloon, Hong Kong: City University of Hong Kong Press. 2008. ISBN (/wiki/ISBN_(identifier)) 978-962-937-467-9 . OCLC (/wiki/OCLC_(identifier)) 1142373741 (https://www.worldcat.org/oclc/1142373741) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: others ( link (/wiki/Category:CS1_maint:_others) ) ^ Jump up to: a b c d e f g h i j k l m n o Johnson, Linda Cooke (2011). Women of the conquest dynasties : gender and identity in Liao and Jin China . Honolulu: University of Hawaiʻi Press. ISBN (/wiki/ISBN_(identifier)) 978-0-8248-6024-0 . OCLC (/wiki/OCLC_(identifier)) 794925381 (https://www.worldcat.org/oclc/794925381) . ^ (#cite_ref-20) Mote, Frederick W. (1999). Imperial China, 900-1800 . Cambridge, Mass.: Harvard University Press. ISBN (/wiki/ISBN_(identifier)) 0-674-44515-5 . OCLC (/wiki/OCLC_(identifier)) 41285114 (https://www.worldcat.org/oclc/41285114) . ^ Jump up to: a b Routledge Handbook of Imperial Chinese History . Victor Cunrui Xiong, Kenneth James Hammond. Abingdon, Oxon. 2019. ISBN (/wiki/ISBN_(identifier)) 978-1-138-84728-6 . OCLC (/wiki/OCLC_(identifier)) 1031045844 (https://www.worldcat.org/oclc/1031045844) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) CS1 maint: others ( link (/wiki/Category:CS1_maint:_others) ) ^ Jump up to: a b c d 5000 years of Chinese costumes . Xun Zhou, Chunming Gao, 周汛, Shanghai Shi xi qu xue xiao. Zhongguo fu zhuang shi yan jiu zu. San Francisco, CA: China Books & Periodicals. 1987. ISBN (/wiki/ISBN_(identifier)) 0-8351-1822-3 . OCLC (/wiki/OCLC_(identifier)) 19814728 (https://www.worldcat.org/oclc/19814728) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: others ( link (/wiki/Category:CS1_maint:_others) ) ^ Jump up to: a b c d e The Cambridge History of China . Vol. 6: Alien regimes and border states, 907–1368. Herbert Franke, Denis Crispin Twitchett, John King Fairbank. Cambridge: Cambridge University Press. 1994. ISBN (/wiki/ISBN_(identifier)) 978-1-139-05474-4 . OCLC (/wiki/OCLC_(identifier)) 317592785 (https://www.worldcat.org/oclc/317592785) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: others ( link (/wiki/Category:CS1_maint:_others) ) ^ Jump up to: a b c d e Roberts, John A. G. (2011). History of China (3rd ed.). Palgrave Macmillan. ISBN (/wiki/ISBN_(identifier)) 978-0-230-24984-4 . OCLC (/wiki/OCLC_(identifier)) 930059261 (https://www.worldcat.org/oclc/930059261) . ^ Jump up to: a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj ak al am an ao ap aq ar as at au av aw ax ay az ba bb bc bd be bf bg Garrett, Valery M. (2007). Chinese dress : from the Qing Dynasty to the Present . Tokyo: Tuttle Pub. ISBN (/wiki/ISBN_(identifier)) 978-0-8048-3663-0 . OCLC (/wiki/OCLC_(identifier)) 154701513 (https://www.worldcat.org/oclc/154701513) . ^ Jump up to: a b c d e f g Vollmer, John E. (2007). Dressed to rule : 18th century court attire in the Mactaggart Art Collection . Mactaggart Art Collection. Edmonton: University of Alberta Press. ISBN (/wiki/ISBN_(identifier)) 978-1-55195-705-0 . OCLC (/wiki/OCLC_(identifier)) 680510577 (https://www.worldcat.org/oclc/680510577) . ^ Jump up to: a b c d e f g Schlesinger, Jonathan (2017). A world trimmed with fur : wild things, pristine places, and the natural fringes of Qing rule . Stanford, California. ISBN (/wiki/ISBN_(identifier)) 978-1-5036-0068-3 . OCLC (/wiki/OCLC_(identifier)) 949669739 (https://www.worldcat.org/oclc/949669739) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) ^ (#cite_ref-28) Mailey, Jean (2013). The Manchu dragon : costumes of the Ch'ing dynasty, 1644-1912 . [Lieu de publication non identifié]. ISBN (/wiki/ISBN_(identifier)) 978-0-300-20157-4 . OCLC (/wiki/OCLC_(identifier)) 1040887449 (https://www.worldcat.org/oclc/1040887449) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) ^ Jump up to: a b c d e f g h i j k l m n o p q "Chinese dress in the Qing dynasty" (http://archive.maas.museum/hsc/evrev/chinese_dress.html#:~:text=The%20chenyi%20featured%20a%20round,robe%20allowing%20facility%20of%20movement.) . archive.maas.museum . Retrieved 2022-05-12 . ^ (#cite_ref-31) Forsyth, James (1994). A History of the Peoples of Siberia: Russia's North Asian Colony 1581-1990 (illustrated, reprint, revised ed.). Cambridge University Press. p. 217. ISBN (/wiki/ISBN_(identifier)) 0521477719 . ^ (#cite_ref-32) Majewicz, Alfred F., ed. (2011). Materials for the Study of Tungusic Languages and Folklore . Vol. 15 (illustrated, reprint ed.). Walter de Gruyter. p. 21. ISBN (/wiki/ISBN_(identifier)) 978-3110221053 . ^ (#cite_ref-33) Dwyer, Arienne M. (2007). Salar: A Study in Inner Asian Language Contact Processes, Part 1 . Vol. 37 of Turcologica Series (illustrated ed.). Otto Harrassowitz Verlag. p. 22. ISBN (/wiki/ISBN_(identifier)) 978-3447040914 . ^ (#cite_ref-34) Wakeman, Frederic E. (1985). The Great Enterprise: The Manchu Reconstruction of Imperial Order in Seventeenth-century China, Volume 1 . Vol. 2 of Great Enterprise (illustrated ed.). University of California Press,l. p. 868. ISBN (/wiki/ISBN_(identifier)) 0520048040 . ^ (#cite_ref-35) Lui, Adam Yuen-chung (1989). Two Rulers in One Reign: Dorgon and Shun-chih, 1644-1660 . Faculty of Asian Studies monographs // The Australian National University (illustrated ed.). Faculty of Asian Studies, Australian National University. p. 37. ISBN (/wiki/ISBN_(identifier)) 0731506545 . Dorgon did not want to see anything go wrong in a province and this might be the main reason why the government ... When the Chinese were ordered to wear the queue , Sun and Li took the initiative in changing their Ming hairstyle to ... ^ Jump up to: a b c Rhoads, Edward J. M. (2000). Manchus & Han : ethnic relations and political power in late Qing and early republican China, 1861-1928 . Seattle: University of Washington Press. ISBN (/wiki/ISBN_(identifier)) 978-0-295-80412-5 . OCLC (/wiki/OCLC_(identifier)) 774282702 (https://www.worldcat.org/oclc/774282702) . ^ (#cite_ref-38) "Velvet Textile for a Dragon Robe 17th century" (https://www.metmuseum.org/art/collection/search/44111) . www.metmuseum.org . Retrieved 2022-05-20 . ^ Jump up to: a b Steele, Valerie (1999). China chic : East meets West . John S. Major. New Haven: Yale University Press. ISBN (/wiki/ISBN_(identifier)) 0-300-07930-3 . OCLC (/wiki/OCLC_(identifier)) 40135301 (https://www.worldcat.org/oclc/40135301) . ^ (#cite_ref-42) Qian, Nanxiu (2001). Spirit and self in medieval China : the Shih-shuo hsin-y and its legacy . Honolulu: University of Hawai'i Press. ISBN (/wiki/ISBN_(identifier)) 978-0-8248-6442-2 . OCLC (/wiki/OCLC_(identifier)) 798298041 (https://www.worldcat.org/oclc/798298041) . ^ (#cite_ref-43) Dong, Madeleine Yue (2003). Republican Beijing : the city and its histories . Berkeley: University of California Press. ISBN (/wiki/ISBN_(identifier)) 978-0-520-92763-6 . OCLC (/wiki/OCLC_(identifier)) 52470842 (https://www.worldcat.org/oclc/52470842) . ^ Jump up to: a b c d Heroldová, Helena (2016). "The Dragon Robe as the Professional Dress of the Qing Dynasty Scholar-Official (The Náprstek Museum Collection)" (https://doi.org/10.1515%2Fanpm-2017-0012) . Annals of the Náprstek Museum . 37 (2): 49–72. doi (/wiki/Doi_(identifier)) : 10.1515/anpm-2017-0012 (https://doi.org/10.1515%2Fanpm-2017-0012) . ISSN (/wiki/ISSN_(identifier)) 2533-5685 (https://www.worldcat.org/issn/2533-5685) . S2CID (/wiki/S2CID_(identifier)) 191643762 (https://api.semanticscholar.org/CorpusID:191643762) . ^ Jump up to: a b c d Silberstein, Rachel (2020). A fashionable century : textile artistry and commerce in the late Qing . Seattle. ISBN (/wiki/ISBN_(identifier)) 978-0-295-74719-4 . OCLC (/wiki/OCLC_(identifier)) 1121420666 (https://www.worldcat.org/oclc/1121420666) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) ^ Jump up to: a b c "Man's Audience Robe (Chaofu) Second half of the 19th century" (https://www.metmuseum.org/art/collection/search/69062) . www.metmuseum.org . Retrieved 2022-05-16 . ^ Jump up to: a b c "Robe of State 19th century China" (https://www.metmuseum.org/art/collection/search/68295) . www.metmuseum.org . Retrieved 2022-05-16 . ^ Jump up to: a b Finnane, Antonia (2008). Changing clothes in China : fashion, history, nation . New York: Columbia University Press. ISBN (/wiki/ISBN_(identifier)) 978-0-231-14350-9 . OCLC (/wiki/OCLC_(identifier)) 84903948 (https://www.worldcat.org/oclc/84903948) . ^ Jump up to: a b c "Emperor's twelve-symbol festival robe China" (https://www.metmuseum.org/art/collection/search/60506) . www.metmuseum.org . Retrieved 2022-05-14 . ^ Jump up to: a b "Woman's Robe of State 18th century China" (https://www.metmuseum.org/art/collection/search/69063) . www.metmuseum.org . Retrieved 2022-05-14 . ^ Jump up to: a b Lewandowski, Elizabeth J. (2011). The complete costume dictionary . Dan Lewandowski. Lanham, Maryland. ISBN (/wiki/ISBN_(identifier)) 978-0-8108-4004-1 . OCLC (/wiki/OCLC_(identifier)) 694238143 (https://www.worldcat.org/oclc/694238143) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) ^ (#cite_ref-53) "Imperial dresses worn by concubines in the Qing Dynasty" (http://en.chinaculture.org/chineseway/2014-07/30/content_553546_3.htm) . en.chinaculture.org . p. 3 . Retrieved 2022-05-21 . ^ (#cite_ref-55) "Woman's Festival Robe late 19th century China" (https://www.metmuseum.org/art/collection/search/68578) . www.metmuseum.org . Retrieved 2022-05-19 . ^ (#cite_ref-56) "满族红绸五彩绣八团花蝶吉服袍" (http://www.biftmuseum.com/collection/info?sid=506&colCatSid=2) . www.biftmuseum.com . Retrieved 2022-05-21 . ^ (#cite_ref-57) "Birthday or Ceremonial Robe with Crane Medallions 19th century" (https://www.metmuseum.org/art/collection/search/69900) . www.metmuseum.org . Retrieved 2022-05-21 . ^ Jump up to: a b c "Festival Overcoat 18th century China" (https://www.metmuseum.org/art/collection/search/69545) . www.metmuseum.org . Retrieved 2022-05-14 . ^ (#cite_ref-59) "Woman's Surcoat (China)" (https://collection.cooperhewitt.org/objects/18445967/) . Cooper Hewitt, Smithsonian Design Museum . Retrieved 2022-05-19 . ^ (#cite_ref-60) "Woman's coat with crane medallions 19th century" (https://www.metmuseum.org/art/collection/search/69899) . www.metmuseum.org . Retrieved 2022-05-21 . ^ Jump up to: a b c "Mandarin Duck Rank Badge \| Denver Art Museum" (https://www.denverartmuseum.org/en/edu/object/mandarin-duck-rank-badge#:~:text=This%20silk%20rank%20badge%20was,to-day%20affairs%20of%20government.) . www.denverartmuseum.org . Retrieved 2022-05-16 . ^ Jump up to: a b c d "Exchange: Qing-dynasty rank badges at the University of Michigan" (https://exchange.umma.umich.edu/resources/26228) . exchange.umma.umich.edu . Retrieved 2022-05-17 . ^ (#cite_ref-63) "Leopard Rank Badge \| Denver Art Museum" (https://www.denverartmuseum.org/en/edu/object/leopard-rank-badge) . www.denverartmuseum.org . Retrieved 2022-05-17 . ^ Jump up to: a b c d e Guo cai chao zhang : Qing dai gong ting fu shi [ The Splendours of Royal Costume: Qing Court Attire ] (PDF) . Hong Kong Museum of History, Hong Kong. Leisure and Cultural Services Department, Gu gong bo wu yuan, 故宮博物院. Xianggang: Kang le ji wen hua shi wu shu. 2013. ISBN (/wiki/ISBN_(identifier)) 978-962-7039-77-8 . OCLC (/wiki/OCLC_(identifier)) 858272582 (https://www.worldcat.org/oclc/858272582) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: others ( link (/wiki/Category:CS1_maint:_others) ) ^ (#cite_ref-69) "The Brief History of Qing Dynasty Clothing - 2022" (https://www.newhanfu.com/4377.html) . www.newhanfu.com . 2020-05-22 . Retrieved 2022-05-17 . ^ (#cite_ref-70) Chinese court costumes . Royal Ontario Museum of Archaeology. Royal Ontario Museum of Archaeology. 1946. OCLC (/wiki/OCLC_(identifier)) 976470860 (https://www.worldcat.org/oclc/976470860) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: others ( link (/wiki/Category:CS1_maint:_others) ) ^ (#cite_ref-71) Fashion, identity, and power in modern Asia . Kyunghee Pyun, Aida Yuen Wong. Cham, Switzerland. 2018. ISBN (/wiki/ISBN_(identifier)) 978-3-319-97199-5 . OCLC (/wiki/OCLC_(identifier)) 1059514121 (https://www.worldcat.org/oclc/1059514121) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) CS1 maint: others ( link (/wiki/Category:CS1_maint:_others) ) ^ Jump up to: a b "石青色缎常服褂" (https://www.dpm.org.cn/collection/embroider/231995.html) . The Palace Museum . Retrieved 2022-05-20 . 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You can help expand this article with text translated from the corresponding article (https://fr.wikipedia.org/wiki/%C3%89cole_de_la_chambre_syndicale_de_la_couture_parisienne) in French . Click [show] for important translation instructions. Machine translation, like DeepL (https://deepl.com) or Google Translate (https://translate.google.com/) , is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Wikipedia. Consider adding a topic (/wiki/Template:Expand_French#Topics_and_categorization) to this template: there are already 1,515 articles in the main category (/wiki/Category:Articles_needing_translation_from_French_Wikipedia) , and specifying \|topic= will aid in categorization. Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article. You must provide copyright attribution (/wiki/Wikipedia:Copying_within_Wikipedia) in the edit summary (/wiki/Help:Edit_summary) accompanying your translation by providing an interlanguage link (/wiki/Help:Interlanguage_links) to the source of your translation. A model attribution edit summary is Content in this edit is translated from the existing French Wikipedia article at [[:fr:École de la chambre syndicale de la couture parisienne]]; see its history for attribution. You may also add the template {{Translated\|fr\|École de la chambre syndicale de la couture parisienne}} to the talk page (/wiki/Talk:%C3%89cole_de_la_chambre_syndicale_de_la_couture_parisienne) . For more guidance, see Wikipedia:Translation (/wiki/Wikipedia:Translation) . L'École de la chambre syndicale de la couture parisienne is a private institution of higher education in the creative professions founded in 1927 by the Chambre Syndicale de la Haute Couture. [1] (#cite_note-1) It provides training in fashion and haute couture techniques and has been located in the 2nd arrondissement of Paris since 2010. As of 2019, the École de la chambre syndicale de la couture parisienne and the IFM, founded in 1986, have merged to create the new Institut français de la mode. [2] (#cite_note-2) [3] (#cite_note-3) Famous graduates [ edit ] Julien Fournié (/wiki/Julien_Fourni%C3%A9) , a French fashion designer Nicole Miller (/wiki/Nicole_Miller) , an American fashion designer, who lives and works in the United States of America Sirivannavari of Thailand (/wiki/Sirivannavari) , a Thai princess References [ edit ] ^ (#cite_ref-1) "Ecole de la Chambre Syndicale de la Couture Parisienne à PARIS – FORMATION ET COURS" (https://www.formation-et-cours.com/ecole-de-la-chambre-syndicale-de-la-couture-parisienne-a-paris-2/) (in French). 11 February 2015 . Retrieved 3 August 2023 . ^ (#cite_ref-2) "L'Ecole de la Chambre Syndicale de la Couture parisienne : polir le talent brut - Les Inrocks" (https://www.lesinrocks.com/actu/lecole-de-la-chambre-syndicale-de-la-couture-parisienne-polir-le-talent-brut-64287-08-07-2014/) . www.lesinrocks.com (in French) . Retrieved 3 August 2023 . ^ (#cite_ref-3) "Valerie Steele : « L'union des écoles de mode françaises est une formidable avancée »" (https://www.lemonde.fr/m-mode/article/2016/09/01/valerie-steele-l-union-des-ecoles-de-mode-francaises-est-une-formidable-avancee_4991229_4497335.html) . Le Monde.fr (in French). 1 September 2016 . Retrieved 3 August 2023 . This article about a French university, college, or other educational institution is a stub (/wiki/Wikipedia:Stub) . You can help Wikipedia by expanding it (https://en.wikipedia.org/w/index.php?title=%C3%89cole_de_la_chambre_syndicale_de_la_couture_parisienne&action=edit) . v t e This fashion (/wiki/Fashion) -related article is a stub (/wiki/Wikipedia:Stub) . 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Art collective and design studio Studio Swine is a British-Japanese art collective and design studio founded in 2011 by Azusa Murakami (/w/index.php?title=Azusa_Murakami&action=edit&redlink=1) and Alexander Groves (/w/index.php?title=Alexander_Groves&action=edit&redlink=1) . Swine is an acronym for "Super Wide Interdisciplinary New Explorers". They are known for artistic works in design that combine narrative, film, and process-based object-making with an emphasis on sustainability. [1] (#cite_note-1) [2] (#cite_note-Sunshine-2017-2) Background and work [ edit ] Azusa Murakami and Alexander Groves met while studying at the Royal College of Art (/wiki/Royal_College_of_Art) in London, from which they both received Masters in Product Design degrees. Upon graduation, they founded Studio Swine. Murakami is an architect who was trained at the Bartlett School of Architecture (/wiki/The_Bartlett) . [3] (#cite_note-3) Groves holds an undergraduate degree in fine art from Oxford University (/wiki/University_of_Oxford) . [4] (#cite_note-4) [2] (#cite_note-Sunshine-2017-2) Studio Swine explores themes of regional identity and the future of resources. [ citation needed ] Their work combines contextual research and experimental use of sustainable materials which manifest in objects, films and immersive installations. [ buzzword ] [ citation needed ] Their work straddles between the spheres of sculpture, installations and cinema, blending poetry and research into immersive experiences. [ buzzword ] [ citation needed ] Their sensory installations are an ongoing series of works they describe as "Ephemeral Tech" in which the boundaries between digital technology and natural forces are dissolved to create unnatural phenomena. [5] (#cite_note-5) Ephemeral Tech looks to a future where technology uses senses to transcend the familiar interfaces beyond the standard visual stimuli of flat screens, projections and LED arrays, and becomes inseparable from both built and natural environments. [6] (#cite_note-6) They explore the concept of Ephemeral Tech in their installations such as New Spring (2017). [7] (#cite_note-:0-7) Known for their films, they are inspired by the filmmaking of Ray and Charles Eames and have said that they are designers of "mass communication rather than mass production". [8] (#cite_note-auto-8) Their films have been awarded at Cannes and have been featured on National Geographic and Discovery Channel and museums and film festivals globally. [9] (#cite_note-9) [ better source needed ] The collective's work has been exhibited at institutions such as the V&A Museum (/wiki/Victoria_and_Albert_Museum) in London and shown in both Venice Art and Architecture Biennales. [8] (#cite_note-auto-8) Examples of their work are held in the collection of the Museum of Modern Art (/wiki/Museum_of_Modern_Art) (MoMA), Centre Pompidou (/wiki/Centre_Pompidou) , M+ (/wiki/M%2B) , Vitra Design Museum (/wiki/Vitra_Design_Museum) , and Design Museum Gent (/wiki/Design_Museum_Gent) . [10] (#cite_note-10) [11] (#cite_note-11) [ citation needed ] In 2022, the Murakami and Groves founded A.A.Murakami, which focuses on ephemeral experiences through sensory installations and Web3 and their inaugural project was entitled Floating World. [12] (#cite_note-auto3-12) [13] (#cite_note-13) Studio Swine is represented by Pace Gallery, Pearl Lam Gallery and Superblue. [ promotion? ] Selected works and projects [ edit ] Sea Chair (2011) [ edit ] First presented in the Royal College of Art show in 2011, Sea Chair is an open source design and film that explores the issue of plastic waste. In Sea Chair, Studio Swine demonstrate how waste plastic picked up by fishing trawlers can be transformed into chairs on board the boats. [14] (#cite_note-14) Hair Highway (2014) [ edit ] Having developed developed a technique to infuse hair in natural resin as an alternative to wood while studying at London's Royal College of Art, Studio Swine travelled to China to visit a hair market in Shandong and film parts of the hair trade as an exploration of human hair as a future resource and a reflection on the global human hair industry in the context of China's past and present trade relationship with the world. [15] (#cite_note-auto1-15) As part of the project, they created a series of decorative pieces and accessories influenced by the art-deco architecture and design found in Shanghai and all pieces were made from coloured resin and human hair. [16] (#cite_note-16) Hair Highway was presented at Design Miami/Basel in 2014. [15] (#cite_note-auto1-15) Can City (2014) [ edit ] Studio Swine created "Can City", a mobile foundry that operates around São Paulo's streets that smelts aluminium cans using waste vegetable oil collected from local cafes as fuel. The moulds and the finished pieces are all made on location, turning the street into an improvised manufacturing line. [17] (#cite_note-17) In a city with some 20 million residence, waste is on a massive scale. however over 80% of the recycling is collected by an informal system of independent waste collectors known as Catadores who pull their handmade carts around the streets. [18] (#cite_note-18) 'Can City' creates a system where their livelihoods can extend beyond rubbish collection. In Can City, Catadores mine the streets for materials to create objects with vernacular aesthetic, providing a portrait of the streets. [19] (#cite_note-auto2-19) The stools are the first line items to be produced, inspired by vernacular design the seating is made for the food market that provided the waste materials. "Can City" was commissioned by the Coletivo Amor de Madre Gallery, São Paulo and was supported by Heineken. [20] (#cite_note-20) Fordlandia (2017) [ edit ] "Fordlandia" is an immersive art installation created by Studio Swine that is inspired by a ghost town deep in the Amazon Rainforest built by the American Industrialist Henry Ford in the late 1920's to secure a supply of rubber for his automobile empire. [21] (#cite_note-21) Through the construction of a fictional domestic space made entirely of Amazonian rubber and other materials from the rainforest, the installation explores the idea of synthesis between nature and industry, questioning Henry Ford's attempt to tame nature in profit of his industrial gain. [22] (#cite_note-22) New Spring (2017) [ edit ] "New Spring" is an immersive art installation created by Studio Swine supported by COS. [23] (#cite_note-23) The installation consists of a six metre high tree of aluminium that releases mist-filled bubbles that break upon human contact but can be held by visitors with special gloves. [7] (#cite_note-:0-7) Visitors are invited to interact with the bubbles, triggering the release of scent and mist, while experiencing a unique sensory journey. Shown at Milan design week in 2017, Studio Swine have said the work is inspired by the ephemerality of cherry blossom and re-examines how we can interact with technology through our senses. [24] (#cite_note-24) Infinity Blue (2018) [ edit ] Infinity Blue is an installation by Studio Swine that celebrates cyanobacteria, one of the world's smallest living beings. [25] (#cite_note-25) They describe their work in the following terms: "At almost 9 metres tall and weighing 20 tonnes, ∞ Blue (Infinity Blue) is an immersive installation that pays homage to the cyanobacteria, one of the world's smallest living beings. Around 3 billion years ago, cyanobacteria first developed oxygenic photosynthesis. In doing so, they changed the nature of our planet. The sculpture is a monument to their vital creation, which continues to provide the oxygen in every breath we take." [26] (#cite_note-26) On the surface of the monument, Cornish clay and oxide glazes reflect local mining history. The textural pattern on the ceramic tiles are generated by a reaction-diffusion algorithm found in nature from zebras to coral. From the sculpture, 32 vortex cannons fire smoke rings whose scents tell a layered history of the earth's atmosphere. [27] (#cite_note-27) Studio Swine collaborated with Paris perfume house Givaudan (/wiki/Givaudan) to develop fragrances inspired by the aromas of primordial worlds. [28] (#cite_note-28) Craft x Tech Tohoku Project (2024) [ edit ] In 2024, Studio Swine's collaboration with Sendai Tansu (/wiki/Tansu) artisans from Miyagi city was unveiled at an exhibition called Craft x Tech Tohoku Project at Kudan House in Tokyo. [29] (#cite_note-29) [30] (#cite_note-30) Their contribution to the initiative was a geometric chest of drawers made of lacquer coated woods and iron fittings that Azusa Murakami described as a type of "time travel device ... employing age-old techniques and traditions that traverse the hands of artisans across centuries." [31] (#cite_note-31) The show was curated by Maria Cristina Didero (/wiki/Maria_Cristina_Didero) and also included works by Ini Archibong (/wiki/Ini_Archibong) , Sabine Marcelis (/wiki/Sabine_Marcelis) , Yoichi Ochiai (/wiki/Yoichi_Ochiai) , Michael Young (/wiki/Michael_Young_(industrial_designer)) , and Hideki Yoshimoto (/w/index.php?title=Hideki_Yoshimoto&action=edit&redlink=1) . [32] (#cite_note-32) [33] (#cite_note-33) [34] (#cite_note-34) Films [ edit ] Sea Chair (2011) [35] (#cite_note-35) Can City (2013) [19] (#cite_note-auto2-19) Buttons (2013) [36] (#cite_note-36) Hair Highway (2014) [37] (#cite_note-37) Terraforming (2016) [38] (#cite_note-38) Infinity Blue (2018) [39] (#cite_note-39) St James Market (2016) [40] (#cite_note-40) Floating World (2022) [12] (#cite_note-auto3-12) Under a Flowing Field (2023) [41] (#cite_note-41) References [ edit ] ^ (#cite_ref-1) "The Japanese Architect and British Artist at the Forefront of Design" (https://pen-online.com/design/studio-swine-the-japanese-architect-and-british-artist-at-the-forefront-of-design/) . Pen Magazine International . January 18, 2020 . Retrieved September 5, 2023 . ^ a b Sunshine, Becky (2017-03-26). "Studio Swine's designs on the world" (https://www.theguardian.com/artanddesign/2017/mar/26/studio-swine-designs-on-the-world) . The Observer . The Guardian. ISSN (/wiki/ISSN_(identifier)) 0029-7712 (https://www.worldcat.org/issn/0029-7712) . Retrieved 2023-09-05 . ^ (#cite_ref-3) "Azusa Murakami" (https://www.rca.ac.uk/students/azusa-murakami/) . Royal College of Art . Retrieved 2023-08-01 . ^ (#cite_ref-4) "Alexander Groves" (https://www.rca.ac.uk/students/alexander-groves/) . Royal College of Art . Retrieved 2023-08-01 . ^ (#cite_ref-5) Azzarello, Nina (March 7, 2019). "investigating invisible elements: an interview with studio swine at A/D/O" (https://www.designboom.com/art/interview-studio-swine-ado-wave-particle-duplex-03-07-2019/) . designboom \| architecture & design magazine . Retrieved September 5, 2023 . ^ (#cite_ref-6) "Studio Swine and its intriguing installations of ephemeral technology" (https://fahrenheitmagazine.com/en/modern-art/plastics/studio-swine-and-its-intriguing-installations-of-ephemeral-technology) . Fahrenheit Magazine . January 2, 2023 . Retrieved September 5, 2023 . ^ a b Roux, Caroline (December 1, 2017). "Studio Swine: art world bubbles" (https://www.ft.com/content/376f82bc-d10f-11e7-947e-f1ea5435bcc7) . Financial Times . Retrieved September 5, 2023 . ^ a b Howarth, Dan (March 21, 2016). "Designers are turning to film, according to Studio Swine" (https://www.dezeen.com/2016/03/21/studio-swine-alex-groves-interview-designers-using-film-agents-mass-communication/) . Dezeen . Retrieved September 5, 2023 . ^ (#cite_ref-9) "Why Studio Swine 's New Spring is a Triumph of Multi-Sensory Design" (https://www.cobosocial.com/dossiers/studio-swine-new-spring/) . COBO Social . August 30, 2017. ^ (#cite_ref-10) "DesignTO Talks: Studio Swine" (https://designto.org/event/designto-talks-studio-swine/) . 31 December 2018. ^ (#cite_ref-11) "Studio Swine \| Makers \| M+" (https://www.mplus.org.hk/en/collection/makers/studio-swine/) . www.mplus.org.hk . Retrieved 2024-07-15 . ^ a b "Floating World" (https://www.floatingworld.io/) . Floating World . ^ (#cite_ref-13) "A.A. Murakami: Floating World Genesis \| Pace Gallery" (https://www.pacegallery.com/journal/aa-murakami-floating-world/) . www.pacegallery.com . 17 November 2023. ^ (#cite_ref-14) "Open Source Sea Chair by Studio Swine" (https://www.dezeen.com/2013/02/16/open-source-sea-chair-by-studio-swine/) . Dezeen . February 16, 2013. ^ a b "Studio Swine extends collection of products made from hair" (https://www.dezeen.com/2014/06/30/studio-swine-extends-collection-hair-highway-products/) . Dezeen . June 30, 2014. ^ (#cite_ref-16) "studio swine combines tresses + resin to pave hair highway of objects" (https://www.designboom.com/design/studio-swine-hair-highway-07-01-2014/) . July 2014. ^ (#cite_ref-17) Derringer, Jaime (November 4, 2013). "Aluminum Cans Become Stools by Studio Swine" (https://design-milk.com/can-city-studio-swine/) . Design Milk . ^ (#cite_ref-18) "Can City by Studio Swine" (https://www.frameweb.com/article/can-city-by-studio-swine) . www.frameweb.com . ^ a b "Can City" (https://studioswine.com/work/can-city/) . ^ (#cite_ref-20) "Can City aluminium furnace for São Paulo's catadores by Studio Swine" (https://www.dezeen.com/2013/11/01/can-city-mobile-aluminium-furnace-catadores-sao-paulo-studio-swine/) . Dezeen . November 1, 2013. ^ (#cite_ref-21) updated, Jessica Klingelfuss last (October 10, 2016). "Studio Swine resurrects Fordlandia, Henry Ford's lost Amazon utopia" (https://www.wallpaper.com/design/studio-swine-resurrect-fordlandia-henry-fords-lost-amazon-utopia) . wallpaper.com . ^ (#cite_ref-22) Cain, Abigail (September 21, 2016). "Studio Swine's Latest Project in London Revives Fordlandia, Henry Ford's Failed Amazonian Town" (https://www.artsy.net/article/artsy-editorial-two-designers-revive-fordlandia-henry-ford-s-failed-amazonian-town) . Artsy . ^ (#cite_ref-23) "Studio Swine joins stable of high-tech art organisation Future\Pace" (https://www.theartnewspaper.com/2017/03/27/studio-swine-joins-stable-of-high-tech-art-organisation-futurepace) . The Art Newspaper – International art news and events . March 27, 2017. ^ (#cite_ref-24) Martin, Hannah (July 7, 2017). "Designers Alexander Groves and Azusa Murakami of Studio Swine on their bubble-producing tree for COS" (https://www.architecturaldigest.in/content/designers-alexander-groves-azusa-murakami-studio-swine-bubble-producing-tree-cos/) . Architectural Digest India . Retrieved September 5, 2023 . ^ (#cite_ref-25) "∞ BLUE – Future City" (https://futurecity.co.uk/portfolio/the-eden-project/) . ^ (#cite_ref-26) "Infinity Blue (Eden Project)" (https://the-dots.com/projects/infinity-blue-eden-project-245463) . ^ (#cite_ref-27) "why studio swine built a 'breathing' mega-sculpture for one of the world's smallest organisms" (https://www.designboom.com/art/studio-swine-infinity-blue-eden-project-breathing-sculpture-02-19-2019/) . 19 February 2019. ^ (#cite_ref-28) "Studio Swine unveils nine-metre-tall "breathing" sculpture at the Eden Project" (https://www.dezeen.com/2018/05/25/studio-swine-nine-metre-tall-breathing-sculpture-eden-project-design/) . 25 May 2018. ^ (#cite_ref-29) Yamada, Mio (2024-05-18). "A new initiative rethinks old Tohoku crafts" (https://www.japantimes.co.jp/life/2024/05/18/style-design/craft-x-tech-tohoku/) . The Japan Times . Retrieved 2024-05-27 . ^ (#cite_ref-30) "Craft x Tech Special Lecture Series Vol. 2 "Studio SWINE x Sendai Tansu" │ CRAFT X TECH - An initiative to unify traditional Japanese craft and contemporary technology" (https://craft-x-tech.com/news/craft-x-tech-special-lecture-series-vol-2-studio-swine-x-sendai-tansu/) . CRAFT X TECH . Retrieved 2024-06-02 . ^ (#cite_ref-31) Demetriou, Danielle (2024-06-02). "Craft x Tech elevates Japanese craftsmanship with progressive technology" (https://www.wallpaper.com/design-interiors/craft-x-tech-debut-japanese-craft-contemporary-design) . wallpaper.com . Retrieved 2024-06-02 . ^ (#cite_ref-32) "CRAFT X TECH - An initiative to unify traditional Japanese craft and contemporary technology" (https://craft-x-tech.com/) . CRAFT X TECH . Retrieved 2024-06-02 . ^ (#cite_ref-33) Akkam, Alia (2024-05-20). "Tohoku Project presents inaugural Craft x Tech exhibition" (https://www.architecturaldigest.com/story/studio-aheads-warm-new-wine-bar-sothebys-unveils-tamotsu-yagi-collection-and-more-news) . Architectural Digest . Retrieved 2024-05-27 . ^ (#cite_ref-34) "Tohoku Project presents Craft x Tech during Design Miami/Basel" (https://designnewsnow.com/tohoku-project-presents-craft-x-tech-during-design-miami-basel/) . Design News Now . 2024-06-04 . Retrieved 2024-06-07 . ^ (#cite_ref-35) "Sea Chair" (https://studioswine.com/work/sea-chair/) . ^ (#cite_ref-36) "BUTTONS by Studio Swine" (https://www.youtube.com/watch?v=WU_P2cQM1_Q) – via www.youtube.com. ^ (#cite_ref-37) "Hair Highway" (https://studioswine.com/work/hair-highway/) . ^ (#cite_ref-38) "Terraforming" (https://studioswine.com/work/terraforming/) . ^ (#cite_ref-39) "Infinity Blue" (https://studioswine.com/work/infinity-blue/) . ^ (#cite_ref-40) Booij, Juriaan (November 21, 2016). "STUDIO SWINE – St James's Market" (https://vimeo.com/192504575) – via Vimeo. ^ (#cite_ref-41) "Hyundai Motor and Vitra Design Museum Open 'Home Stories' Exhibition at Hyundai Motorstudio Busan" (https://www.hyundai.com/worldwide/en/company/newsroom/hyundai-motor-and-vitra-design-museum-open-%25E2%2580%2598home-stories%25E2%2580%2599-exhibition-at-hyundai-motorstudio-busan-0000016999) . HYUNDAI MOTORS . External links [ edit ] Official website (https://studioswine.com/) A.A.Murakami website (https://www.aamurakami.com/) NewPP limit report Parsed by mw‐api‐ext.eqiad.canary‐595f547c58‐44jk8 Cached time: 20240715085146 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.478 seconds Real time usage: 0.558 seconds Preprocessor visited node count: 3011/1000000 Post‐expand include size: 72826/2097152 bytes Template argument size: 4653/2097152 bytes Highest expansion depth: 12/100 Expensive parser function count: 6/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 144530/5000000 bytes Lua time usage: 0.310/10.000 seconds Lua memory usage: 5496446/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 522.223 1 -total 56.39% 294.475 1 Template:Reflist 47.62% 248.665 39 Template:Cite_web 19.29% 100.736 8 Template:Fix 15.22% 79.480 1 Template:Short_description 14.97% 78.155 4 Template:Citation_needed 9.62% 50.250 13 Template:Category_handler 9.14% 47.747 2 Template:Pagetype 5.92% 30.920 8 Template:Delink 3.81% 19.895 7 Template:Main_other Saved in parser cache with key enwiki:pcache:idhash:73226386-0!canonical and timestamp 20240715085146 and revision id 1234625271. Rendering was triggered because: api-parse esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Studio_Swine&oldid=1234625271 (https://en.wikipedia.org/w/index.php?title=Studio_Swine&oldid=1234625271) " Categories (/wiki/Help:Category) : Design companies (/wiki/Category:Design_companies) Artist groups and collectives (/wiki/Category:Artist_groups_and_collectives) Arts organizations established in 2011 (/wiki/Category:Arts_organizations_established_in_2011) Alumni of the Royal College of Art (/wiki/Category:Alumni_of_the_Royal_College_of_Art) Conceptual artists (/wiki/Category:Conceptual_artists) Furniture designers (/wiki/Category:Furniture_designers) Hidden categories: Articles with short description (/wiki/Category:Articles_with_short_description) Short description matches Wikidata (/wiki/Category:Short_description_matches_Wikidata) All articles with unsourced statements (/wiki/Category:All_articles_with_unsourced_statements) Articles with unsourced statements from July 2023 (/wiki/Category:Articles_with_unsourced_statements_from_July_2023) Wikipedia articles containing buzzwords from July 2023 (/wiki/Category:Wikipedia_articles_containing_buzzwords_from_July_2023) All articles lacking reliable references (/wiki/Category:All_articles_lacking_reliable_references) Articles lacking reliable references from July 2023 (/wiki/Category:Articles_lacking_reliable_references_from_July_2023) Articles with unsourced statements from August 2023 (/wiki/Category:Articles_with_unsourced_statements_from_August_2023) All articles with a promotional tone (/wiki/Category:All_articles_with_a_promotional_tone) Articles with a promotional tone from July 2023 (/wiki/Category:Articles_with_a_promotional_tone_from_July_2023)
Ecua-Andino Industry Fashion (/wiki/Fashion) Founded 1985 Founder Édgar Sánchez y Alejandro Lecaro Headquarters Guayaquil (/wiki/Guayaquil) , Ecuador (/wiki/Ecuador) Website www.ecua-andino.com (http://www.ecua-andino.com/) Ecua-Andino Hats is an Ecuadorian company founded in 1985 by Alejandro Lecaro and Édgar Sánchez. The brand is dedicated to the production and exportation of Panama hats (/wiki/Panama_hat) . It is one of the most important companies producing finished Panama hats in Ecuador. [1] (#cite_note-1) [2] (#cite_note-2) [3] (#cite_note-3) [4] (#cite_note-4) History [ edit ] In 1985, Édgar Sánchez and Alejandro Lecaro started to sell local crafts, initially to tourists on the beach, and then from a small shop in the center of Guayaquil (/wiki/Guayaquil) , Ecuador (/wiki/Ecuador) . In 1994, they decided to change the product range and concentrated on hats only. In 2012, UNESCO (/wiki/UNESCO) declared that the art of weaving a Panama hat (/wiki/Panama_hat) in Ecuador was added to the list of Intangible Cultural Heritage. [5] (#cite_note-5) Today, the brand exports around 200,000 a year and sells 12,000 on Ecuador's national market. [6] (#cite_note-6) [7] (#cite_note-7) [8] (#cite_note-8) [9] (#cite_note-9) [10] (#cite_note-10) [11] (#cite_note-11) [12] (#cite_note-12) Production [ edit ] Ecua Andino has straw hats production sites in five provinces of Ecuador such as Canar, Azuay, Guayas, Manabi and Santa Elena. The process involves at least 3500 artisans. It is in these little towns that are done the different processes such as selecting the raw material ( Carludovica Palmata (/wiki/Carludovica_palmata) ), cooking, weaving, bleaching, ironing, etc. Tagging and finishing steps are made in the workshop of Guayaquil. The estimated processing time before exporting a hat varies between 1 month and 6 months, it mostly depends on the quality of the product. The company new collections twice a year: References [ edit ] ^ (#cite_ref-1) En el exterior se visten sus sombreros (http://www.revistalideres.ec/empresas/exterior-visten-sombreros_0_736126412.html) ^ (#cite_ref-2) "Interview to Alejandro Lecaro Líderes magazine" (https://web.archive.org/web/20141027234743/http://www.revistalideres.ec/informe-semanal/sombreros-Ecua-Andino_3_771552845.html) . Archived from the original (http://www.revistalideres.ec/informe-semanal/sombreros-Ecua-Andino_3_771552845.html) on October 27, 2014 . Retrieved October 27, 2014 . ^ (#cite_ref-3) "Hat Magazine interview to Alejandro Lecaro y Édgar Sánchez" (https://web.archive.org/web/20131212182740/http://www.thehatmagazine.com/issue56.htm) . Archived from the original (http://www.thehatmagazine.com/issue56.htm) on December 12, 2013 . Retrieved October 27, 2014 . ^ (#cite_ref-4) Artículo sobre Ecua-Andino en The Business Year (http://www.thebusinessyear.com/publication/article/11/1417/ecuador_2012/or-is-it/) ^ (#cite_ref-5) Bonjour París Article (http://www.bonjourparis.com/story/le-dorcia-photquai-if-you-want-get-head-get-panama/) ^ (#cite_ref-6) / ecua andino için arama sonuçları (http://www.offnegiysem.com/?s=ecua+andino) ^ (#cite_ref-7) "PROVENCE" (https://web.archive.org/web/20141016155539/http://www.somethingaboutvictoria.com/2014/08/provence/) . Archived from the original (http://www.somethingaboutvictoria.com/2014/08/provence/) on October 16, 2014 . Retrieved October 27, 2014 . ^ (#cite_ref-8) THE NEW SUMMER ESSENTIALS (http://misslylestyle.com/?p=2461/) ^ (#cite_ref-9) CASUAL SUNDAY IN MY ECUA-ANDINO HAT (http://www.lolabluestyle.com/2014/09/casual-sunday-in-my-ecua-andino-hat.html?m=1/) ^ (#cite_ref-10) "Snake Swim while Doing Nothing" (https://web.archive.org/web/20141020014914/http://www.stylelove.gr/tag/ecua-andino/) . Archived from the original (http://www.stylelove.gr/tag/ecua-andino/) on October 20, 2014 . Retrieved October 27, 2014 . ^ (#cite_ref-11) Celebrities love their straw hats (http://11boundary.wordpress.com/2011/10/04/celebrities-love-their-straw-hats/) ^ (#cite_ref-12) "Kourtney Kardashian Blog" (https://web.archive.org/web/20141020135810/http://www.kourtneykardashian.com/search/ecua%20andino/) . Archived from the original (http://www.kourtneykardashian.com/search/ecua%20andino/) on October 20, 2014 . Retrieved October 27, 2014 . External links [ edit ] Official website (http://www.ecua-andino.com/) NewPP limit report Parsed by mw‐web.eqiad.main‐65687cfdb7‐qp2dz Cached time: 20240623121554 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.238 seconds Real time usage: 0.323 seconds Preprocessor visited node count: 1282/1000000 Post‐expand include size: 11952/2097152 bytes Template argument size: 685/2097152 bytes Highest expansion depth: 12/100 Expensive parser function count: 2/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 23012/5000000 bytes Lua time usage: 0.144/10.000 seconds Lua memory usage: 4361850/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 307.148 1 -total 45.80% 140.664 1 Template:Infobox_company 41.29% 126.836 1 Template:Reflist 36.65% 112.565 1 Template:Infobox 34.46% 105.829 5 Template:Cite_web 10.78% 33.107 1 Template:Use_mdy_dates 6.43% 19.755 5 Template:Main_other 5.51% 16.935 1 Template:Wikidata 4.19% 12.864 1 Template:DMCA 3.54% 10.880 1 Template:Comma_separated_entries Saved in parser cache with key enwiki:pcache:idhash:44228414-0!canonical and timestamp 20240623121554 and revision id 1209795252. Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Ecua-Andino_Hats&oldid=1209795252 (https://en.wikipedia.org/w/index.php?title=Ecua-Andino_Hats&oldid=1209795252) " Categories (/wiki/Help:Category) : Hat companies (/wiki/Category:Hat_companies) Companies of Ecuador (/wiki/Category:Companies_of_Ecuador) Banks established in 1985 (/wiki/Category:Banks_established_in_1985) Ecuadorian brands (/wiki/Category:Ecuadorian_brands) 1985 establishments in Ecuador (/wiki/Category:1985_establishments_in_Ecuador) Hidden category: Use mdy dates from December 2013 (/wiki/Category:Use_mdy_dates_from_December_2013)
Rapper and fashion accessory designer from Whittier, California Zane One Born Zane Marie Reynosa ( 1975-03-18 ) March 18, 1975 (age 49) [1] (#cite_note-1) Other names Zane Valdez, Zane, Zane Marie Occupation(s) Rapper, fashion accessory (/wiki/Fashion_accessory) designer (/wiki/Fashion_design) Relatives Dax Reynosa (/wiki/Dax_Reynosa) (brother) Jurny Big (cousin) Musical career Origin Whittier, California (/wiki/Whittier,_California) Genres Battle rap (/wiki/Battle_rap) , Christian hip hop (/wiki/Christian_hip_hop) , underground hip hop (/wiki/Underground_hip_hop) , West Coast hip hop (/wiki/West_Coast_hip_hop) Years active 1989–present Labels AudioSketchBook, Brainstorm, End of Earth, Uprok (/wiki/BEC_Recordings) Member of Saturday Night Freestyle, Tunnel Rats (/wiki/Tunnel_Rats_(music_group)) Musical artist Website zanemarie (http://zanemarie.storenvy.com/) .storenvy (http://zanemarie.storenvy.com/) .com (http://zanemarie.storenvy.com/) zaneone (http://zaneone.bandcamp.com/) .bandcamp (http://zaneone.bandcamp.com/) .com (http://zaneone.bandcamp.com/) Zane Marie Reynosa (born March 18, 1975), known by the stage names Zane and Zane One as well as the names Zane Valdez and Zane Marie , is an American rapper and fashion accessory (/wiki/Fashion_accessory) designer (/wiki/Fashion_design) from Whittier, California (/wiki/Whittier,_California) . She joined the pioneering Christian (/wiki/Christian_hip_hop) underground hip hop (/wiki/Underground_hip_hop) collective (/wiki/Musical_collective) Tunnel Rats (/wiki/Tunnel_Rats_(music_group)) in 1993, which was formed by her brother, Dax Reynosa (/wiki/Dax_Reynosa) , and recorded three studio albums and a compilation with the group. She also founded the band Saturday Night Freestyle. She has featured on numerous songs and in 2008 released a solo studio album, L.A. Woman (/wiki/L.A._Woman_(Zane_One_album)) . She was active for years as a battle rapper (/wiki/Battle_rap) in the Los Angeles scene and was featured in the 2004 documentary The Battle for L.A.: Footsoldiers, Vol. 1 (/wiki/The_Battle_for_L.A.:_Footsoldiers,_Vol._1) , directed by Darren Doane (/wiki/Darren_Doane) . She also created a fashion line, Zane Marie Bags, specializing in vintage (/wiki/Vintage_(design)) handbags (/wiki/Handbag) , luggage, wallets, and rhyme books. Biography [ edit ] Reynosa wrote her first rap at age 15. [2] (#cite_note-:5-2) She began her career in hip hop music in 1989, learning from her brother Dax and her cousin Jurny Big who had formed a Christian hip hop group called LPG (/wiki/LPG_(American_band)) in 1984. [3] (#cite_note-:0-3) [4] (#cite_note-:1-4) [5] (#cite_note-:22-5) [6] (#cite_note-:23-6) In a 2009 interview, she cited MC Lyte (/wiki/MC_Lyte) as the reason that she started rapping. [2] (#cite_note-:5-2) When asked about which album reminds her why she fell in love with hip hop, Reynosa cited Innercity Griots (/wiki/Innercity_Griots) by Freestyle Fellowship (/wiki/Freestyle_Fellowship) . [2] (#cite_note-:5-2) She clarified that she does not really listen to much hip hop music and instead prefers folk music (/wiki/Folk_music) and "old hippie (/wiki/Hippie) stuff." [2] (#cite_note-:5-2) She considers Jurny Big to be her favorite emcee (/wiki/Emcee) . [2] (#cite_note-:5-2) In 1993, Dax held an open mic at his home in Whittier. Among the performers was his sister Zane, and she became one of the first members of the collective Tunnel Rats, touring extensively with them in the Western (/wiki/Western_United_States) and Southern United States (/wiki/Southern_United_States) . [7] (#cite_note-:2-7) [6] (#cite_note-:23-6) Tunnel Rats released their first album, Experience , in 1996. [7] (#cite_note-:2-7) The same year she featured on The Risen Son , a studio release by fellow Tunnel Rats member Peace 586 (/wiki/Peace_586) . [8] (#cite_note-:6-8) In 1998, she guested on the LPG album 360 Degrees. [9] (#cite_note-:7-9) Reynosa frequented venues in the Los Angeles hip hop underground such as Project Blowed (/wiki/Project_Blowed) , Good Life Cafe (/wiki/Good_Life_Cafe) , and Unity. [3] (#cite_note-:0-3) According to Rapzilla (/wiki/Rapzilla) , she became known for being "absolutely vicious on the mic" and was one of the first "raw and elite" women that a male-dominated industry respected. [6] (#cite_note-:23-6) The nickname "Zane One" started as her tag when she contributed to graffiti (/wiki/Graffiti) sketchbooks. [4] (#cite_note-:1-4) Around the year 2001, she founded an eight-member live band, Saturday Night Freestyle, that remained active for the next six years and made an appearance on Generations (/w/index.php?title=Generations_(Peace_586_album)&action=edit&redlink=1) (2003) by Peace 586. [10] (#cite_note-10) [11] (#cite_note-11) Reynosa recorded two more studio albums — 2001's Tunnel Vision (/wiki/Tunnel_Vision_(Tunnel_Rats_album)) and 2004's Tunnel Rats (/wiki/Tunnel_Rats_(album)) — as well as compilation album — Underground Rise, Volume 1: Sunrise/Sunset (/wiki/Underground_Rise,_Volume_1:_Sunrise/Sunset) (2003) — with Tunnel Rats. She also appeared the 2002 album Cali Quake (/w/index.php?title=Cali_Quake&action=edit&redlink=1) , the debut release from Tunnel Rats member Raphi (/w/index.php?title=Raphi&action=edit&redlink=1) . [12] (#cite_note-:8-12) [13] (#cite_note-:9-13) [14] (#cite_note-14) The 2004 documentary The Battle for L.A. (/wiki/The_Battle_for_L.A.:_Footsoldiers,_Vol._1) portrayed the Los Angeles battle rap scene and includes footage of Reynosa. In 2005, she guested on the extended play (/wiki/Extended_play) Freedom by Tunnel Rats and New Breed (/wiki/New_Breed_(music_duo)) member Macho. [15] (#cite_note-:10-15) In 2009, she released her debut studio album as a solo artist, L.A. Woman , taking inspiration for the title from the Doors album (/wiki/L.A._Woman) of the same name. [4] (#cite_note-:1-4) Lyrically, the album explored topics of faith, womanhood, and living as a single mother. [16] (#cite_note-:3-16) Reynosa explained that making the album was delayed for years due to various hardships. [4] (#cite_note-:1-4) [17] (#cite_note-:4-17) She dedicated the album to her grandmother. [2] (#cite_note-:5-2) Propaganda (/wiki/Propaganda_(musician)) , a fellow Tunnel Rats member, assisted her in finalizing and releasing the album. [17] (#cite_note-:4-17) In 2008 she also appeared on Propaganda's album Listen Watch Focus , [18] (#cite_note-:11-18) as well as the album Let'emknow by LMNO. [19] (#cite_note-:12-19) In 2009, she featured on Peace 586's album Hear [20] (#cite_note-:13-20) and also on a remix (/wiki/Remix_album) extended play from Fol Chen (/wiki/Fol_Chen) , The Longer U Wait (/wiki/The_Longer_U_Wait) . [21] (#cite_note-:14-21) [22] (#cite_note-:15-22) Reynosa launched her fashion line, Zane Marie Bags (originally Zane One Bags), in the early 2010s after eight years of practice and twelve years after she first started selling crochet at various music festivals, clubs, and poetry venues. [16] (#cite_note-:3-16) [17] (#cite_note-:4-17) [5] (#cite_note-:22-5) A music video for the track "Zane One (L.A. Woman)" from her debut album was released in 2010, [23] (#cite_note-:16-23) followed up by a single of the same title. [24] (#cite_note-24) In 2011 she contributed to Macho's album Remember , [25] (#cite_note-:17-25) and this track was remixed two years later by producer Sundance. [26] (#cite_note-:18-26) In 2013, she appeared on Group Therapy (/wiki/Group_Therapy_(Sivion_album)) by Sivion (/wiki/Sivion) . [27] (#cite_note-:19-27) She featured on the LA Symphony (/wiki/LA_Symphony) album You Still On Earth? in 2014, [28] (#cite_note-:20-28) and in 2019 featured on the album Here's Mud in Your Eye by Krum (/wiki/Krum_(rapper)) and Theory Hazit (/wiki/Theory_Hazit) . [29] (#cite_note-:21-29) Discography [ edit ] L.A. Woman (/wiki/L.A._Woman_(Zane_One_album)) (2009) "Zane One (L.A. Woman)" (2010) With Tunnel Rats [ edit ] Further information: Tunnel Rats discography (/wiki/Tunnel_Rats_discography) Featured appearances [ edit ] Year Title Other performers Album 1996 [8] (#cite_note-:6-8) "Just A Hip Hop Love Song" Peace 586 (/wiki/Peace_586) The Risen Son 1998 [9] (#cite_note-:7-9) "Thinkin' Out Loud" LPG (/wiki/LPG_(American_band)) 360 Degrees 2002 [12] (#cite_note-:8-12) [13] (#cite_note-:9-13) "Let Go" Raphi (/w/index.php?title=Raphi&action=edit&redlink=1) Cali Quake (/w/index.php?title=Cali_Quake&action=edit&redlink=1) 2005 [15] (#cite_note-:10-15) "Infinite" Macho, Sean Slaughter (/wiki/Sean_Slaughter) , Jamie, Sojourn Freedom 2008 [18] (#cite_note-:11-18) "Return of the Juke Joint" Propaganda (/wiki/Propaganda_(musician)) Listen Watch Focus 2008 [19] (#cite_note-:12-19) "I'm Not Having It" LMNO Let'emknow 2009 [20] (#cite_note-:13-20) "Cool" Peace 586 Hear 2009 [21] (#cite_note-:14-21) "The Believers (Epstein remix)" [22] (#cite_note-:15-22) Fol Chen (/wiki/Fol_Chen) The Longer U Wait (/wiki/The_Longer_U_Wait) 2011 [25] (#cite_note-:17-25) "Up In Your System" Macho, Jurny Big Remember 2013 [30] (#cite_note-30) "Beast in Mans Clothing" Gajah, Mute Speaker, Sojourn, Shames Worthy aka Raphi On & Offspring 2013 [26] (#cite_note-:18-26) "Up In Your System (SD Remix)" Sundance, Macho, Jurny Big [31] (#cite_note-31) Remixes From The Sun 2013 [27] (#cite_note-:19-27) "Watch Out" Sivion (/wiki/Sivion) , Shames Worthy Group Therapy (/wiki/Group_Therapy_(Sivion_album)) 2014 [28] (#cite_note-:20-28) "Penny Loafer" LA Symphony (/wiki/LA_Symphony) You Still On Earth? 2019 [29] (#cite_note-:21-29) "Touch Forever" Krum (/wiki/Krum_(rapper)) , Theory Hazit (/wiki/Theory_Hazit) , Dirt Here's Mud in Your Eye Music videos [ edit ] Title Released Director "Zane One (L.A. Woman)" May 13, 2010 [23] (#cite_note-:16-23) N/A Filmography [ edit ] Year Title Role Notes 2004 [32] (#cite_note-32) The Battle for L.A.: Footsoldiers, Vol. 1 (/wiki/The_Battle_for_L.A.:_Footsoldiers,_Vol._1) Herself Documentary film, includes features of Propaganda (/wiki/Propaganda_(musician)) , Raphi, Zane One, Jamie, and Jurny Big References [ edit ] ^ (#cite_ref-1) "Zane One" (https://www.hhhdb.com/index.php?id=257) . Holy Hip Hop Database . Retrieved January 16, 2021 . ^ a b c d e f MaxOne (March 17, 2009). "Episode 54: Zane of Tunnel Rats & Houston Alexander" (http://www.syntaxrecords.com/podcast/episode-54-zane-of-tunnel-rats-houston-alexander/) . Syntax Records . Retrieved January 16, 2021 . ^ a b "Zane One (of Tunnel Rats) Finally Releasing Solo Album" (https://rapzilla.com/2009-03-zane-one-of-tunnel-rats-finally-releasing-solo-album/) . Rapzilla (/wiki/Rapzilla) . March 4, 2009 . Retrieved January 16, 2021 . ^ a b c d Rood, Philip (March 17, 2009). "Interview – Zane One (of Tunnelrats)" (https://rapzilla.com/2009-03-interview-zane-one-of-tunnelrats/) . Rapzilla (/wiki/Rapzilla) . Retrieved January 16, 2021 . ^ a b Del, Nina (March 17, 2009). "Zane One – First Lady of the Tunnel Rats" (https://web.archive.org/web/20090319004311/http://www.dasouth.com/features/interviews/856-zane-one-first-lady-of-the-tunnel-rats) . DaSouth.com . Archived from the original (http://www.dasouth.com/features/interviews/856-zane-one-first-lady-of-the-tunnel-rats) on March 19, 2009 . Retrieved January 27, 2021 . ^ a b c Sarachik, Justin (November 6, 2018). "5 O.G. Women of Christian Hip-Hop You Need to Know" (https://rapzilla.com/2018-11-5-o-g-women-of-christian-hip-hop/) . Rapzilla (/wiki/Rapzilla) . Retrieved January 27, 2021 . ^ a b Nibokun, Imade (October 24, 2013). "Tunnel Rats: Controversial Christian Rap Collective Turns 20" (https://www.laweekly.com/tunnel-rats-controversial-christian-rap-collective-turns-20/) . LA Weekly (/wiki/LA_Weekly) . Retrieved January 16, 2021 . ^ a b "Peace 586, "The Risen Son" Review" (https://www.jesusfreakhideout.com/cdreviews/TheRisenSon.asp) . Jesus Freak Hideout . Retrieved January 16, 2021 . ^ a b "LPG, "360 Degrees" Review" (https://www.jesusfreakhideout.com/cdreviews/360Degrees.asp) . Jesus Freak Hideout . Retrieved January 16, 2021 . ^ (#cite_ref-10) "Zane one" (https://rivevideo.com/zane-one/) . Rive Video Promotion . February 25, 2011 . Retrieved January 27, 2021 . ^ (#cite_ref-11) Corbin, Jon (May 2003). "cMusicWeb.com: Generations" (http://www.cmusicweb.com/hiphop/peace586/generations.shtml) . CMusicWeb . Retrieved January 27, 2021 . ^ a b Torreano, Bradley. "Cali Quake – Raphi" (https://www.allmusic.com/album/cali-quake-mw0000225677) . AllMusic (/wiki/AllMusic) . Retrieved January 16, 2021 . ^ a b "Cali Quake – Album by Raphi" (https://open.spotify.com/album/5wBwUqzyLFOJcQ5M16amNv) . Retrieved January 16, 2021 – via Spotify (/wiki/Spotify) . ^ (#cite_ref-14) Corbin, Jon (September 2002). "cMusicWeb.com: Cali Quake" (http://www.cmusicweb.com/hiphop/raphi/caliquake.shtml) . CMusicWeb . Retrieved January 27, 2021 . ^ a b "Freedom by Macho (of New Breed and The Tunnel Rats)" (https://music.apple.com/us/album/freedom/170271362) . Retrieved January 16, 2021 – via Apple Music (/wiki/Apple_Music) . ^ a b "17 More Women Christian Hip Hop Cannot Live Without" (https://web.archive.org/web/20131105120055/http://wadeoradio.com/17-women-christian-hip-hop-cannot-live-without/15/) . Wade-O Radio . October 13, 2013. p. 15. Archived from the original (http://wadeoradio.com/17-women-christian-hip-hop-cannot-live-without/15/) on November 5, 2013 . Retrieved January 16, 2021 . ^ a b c A.S. (February 2012). "Interview: Zane One" (https://web.archive.org/web/20120509095227/http://www.revolutionaryink1.com/2012/02/interview.html) . Revolutionary Ink . Archived from the original (http://www.revolutionaryink1.com/2012/02/interview.html) on May 9, 2012 . Retrieved January 16, 2021 . ^ a b "Propaganda, "Listen Watch Focus" Review" (https://www.jesusfreakhideout.com/cdreviews/ListenWatchFocus.asp) . Jesus Freak Hideout . Retrieved January 16, 2021 . ^ a b "Let'emknow – LMNO" (https://www.allmusic.com/album/letemknow-mw0001242902) . AllMusic (/wiki/AllMusic) . Retrieved January 16, 2021 . ^ a b "Hear by Peace 586" (https://music.apple.com/us/album/hear/318391272) . Retrieved January 16, 2021 – via Apple Music (/wiki/Apple_Music) . ^ a b Martins, Chris (August 14, 2009). "Fol Chen Release Free Digital Album w/ Remixes from Liars, Rafter, Dublab (MP3s)" (https://web.archive.org/web/20120322203134/http://blogs.laweekly.com/westcoastsound/2009/08/fol_chen_free_digital_album.php) . LA Weekly (/wiki/LA_Weekly) . Archived from the original (http://blogs.laweekly.com/westcoastsound/2009/08/fol_chen_free_digital_album.php) on March 22, 2012 . Retrieved January 16, 2021 . ^ a b "Asthmatic Kitty Records: Fol Chen > The Longer U Wait" (https://web.archive.org/web/20090816085002/http://asthmatickitty.com/the-longer-u-wait) . Asthmatic Kitty Records (/wiki/Asthmatic_Kitty_Records) . Archived from the original (http://asthmatickitty.com/the-longer-u-wait) on August 16, 2009 . Retrieved January 16, 2021 . ^ a b Sphere of Hip Hop (May 13, 2010). "Zane One – Zane One (L.A. Woman) (music video)" (https://www.youtube.com/watch?v=Wkx_xQGcXOw) . Retrieved January 16, 2021 – via YouTube (/wiki/YouTube) . ^ (#cite_ref-24) Juon, Steve (July 27, 2010). "MP3: Zane One – "Zane One (L.A. Woman)" (https://web.archive.org/web/20200923035935/http://www.rapreviews.com/news/View.php?ArticleID=2745) " (https://web.archive.org/web/20200923035935/http://www.rapreviews.com/news/View.php?ArticleID=2745) . RapReviews.com . Archived from the original (http://www.rapreviews.com/news/View.php?ArticleID=2745) on September 23, 2020 . Retrieved January 18, 2021 . ^ a b Solis, Steven (October 3, 2011). "Macho 'Remember' – Listening Session" (https://rapzilla.com/2011-10-macho-remember-listening-session/) . Rapzilla (/wiki/Rapzilla) . Retrieved January 16, 2021 . ^ a b "Remixes from the Sun, by Sundance" (https://illect.bandcamp.com/album/remixes-from-the-sun) . Illect Recordings . Retrieved January 16, 2021 – via Bandcamp (/wiki/Bandcamp) . ^ a b Solis, Steven (August 22, 2013). "Sivion 'Group Therapy' Album Cover, Tracklisting & Release Date Revaled" (https://rapzilla.com/2013-08-sivion-group-therapy-album-cover-tracklisting-a-release-date-revaled/) . Rapzilla (/wiki/Rapzilla) . Retrieved January 16, 2021 . ^ a b "L.A. Symphony, "You Still on Earth?" Review" (https://www.jesusfreakhideout.com/cdreviews/YouStillonEarth.asp) . Jesus Freak Hideout . Retrieved January 16, 2021 . ^ a b "Here's Mud in Your Eye – Album by Krum, Theory Hazit" (https://open.spotify.com/album/7mrZGtlSLo0P8XAEd5Ga5g) . Retrieved January 16, 2021 – via Spotify (/wiki/Spotify) . ^ (#cite_ref-30) "Beast In Mans Clothing (feat. Sojourn, Shames Worthy & Zane One) by Gajah & Mute Speaker" (https://music.apple.com/hr/album/beast-in-mans-clothing-feat-sojourn-shames-worthy-zane-one/1352846794?i=1352847020) . Retrieved January 29, 2021 – via Apple Music (/wiki/Apple_Music) . ^ (#cite_ref-31) Cooper, Andy (November 8, 2013). "Review: Remixes From The Sun – Sundance – Digital Only" (https://www.crossrhythms.co.uk/products/Sundance/Remixes_From_The_Sun/144205/) . Cross Rhythms (/wiki/Cross_Rhythms) . Retrieved January 16, 2021 . ^ (#cite_ref-32) LeVasseur, Andrea. "The Battle for L.A.: Footsoldiers, Vol. 1 on AllMovie The Battle for L.A.: Footsoldiers, Vol. 1" (http://www.allmovie.com/movie/the-battle-for-la-footsoldiers-vol-1-v293094) . AllMovie (/wiki/AllMovie) . All Media Guide (/wiki/All_Media_Guide) . Retrieved May 20, 2014 . External links [ edit ] Official Bandcamp (https://zaneone.bandcamp.com/) Zane Marie on Storenvy (https://www.storenvy.com/stores/411627-zane-marie) Zane Marie Tumblr (https://zaneone.tumblr.com/) Official Instagram (https://www.instagram.com/zanemarie/) v t e Tunnel Rats (/wiki/Tunnel_Rats_(music_group)) Dert Donovan Luke Henry The Foundation Dokument Jerms Future Shock Ahred a.k.a. Redbonz Ajax Starglider Trey Qel Drama Sojourn Griffin Jamie JustMe LPG (/wiki/LPG_(American_band)) Dax Reynosa (/wiki/Dax_Reynosa) Jurny Big New Breed (/wiki/New_Breed_(music_duo)) Elsie Macho Peace 586 (/wiki/Peace_586) Propaganda (/wiki/Propaganda_(musician)) Raphi (/w/index.php?title=Raphi&action=edit&redlink=1) Sev Statik (/wiki/Sev_Statik) Triune Zane One Tunnel Rats releases (/wiki/Tunnel_Rats_discography) Experience (1996) Tunnel Vision (/wiki/Tunnel_Vision_(album)) (2001) Underground Rise, Volume 1: Sunrise/Sunset (/wiki/Underground_Rise,_Volume_1:_Sunrise/Sunset) (2003) Tunnel Rats (/wiki/Tunnel_Rats_(album)) (2004) NewPP limit report Parsed by mw‐web.eqiad.main‐8645764cd7‐bj4zw Cached time: 20240712181855 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.655 seconds Real time usage: 2.611 seconds Preprocessor visited node count: 4064/1000000 Post‐expand include size: 68216/2097152 bytes Template argument size: 4850/2097152 bytes Highest expansion depth: 14/100 Expensive parser function count: 4/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 131825/5000000 bytes Lua time usage: 0.393/10.000 seconds Lua memory usage: 7605343/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 2397.838 1 -total 28.68% 687.670 1 Template:Infobox_person 27.14% 650.882 2 Template:Short_description 19.05% 456.869 1 Template:Reflist 17.34% 415.714 32 Template:Cite_web 16.89% 405.055 25 Template:Main_other 16.78% 402.292 1 Template:Tunnel_Rats 16.66% 399.587 1 Template:Navbox_musical_artist 16.26% 389.772 2 Template:SDcat 14.82% 355.475 20 Template:Pluralize_from_text Saved in parser cache with key enwiki:pcache:idhash:66403266-0!canonical and timestamp 20240712181855 and revision id 1177525526. 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The Luxury Institute is a premium goods and services research, training and consulting firm based in New York City (/wiki/New_York_City) , New York (/wiki/New_York_(state)) and Boca Raton, Florida. It has the largest global network of luxury experts. It has conducted more quantitative and qualitative research on affluent consumers than any other entity. Over the last 17 years, the firm has served over 1,100 luxury and premium goods and services brands. [1] (#cite_note-1) The Luxury Institute's reports, as well as CEO (/wiki/Chief_executive_officer) Milton Pedraza, have been cited in luxury industry articles by publications including Marketing Week (/wiki/Marketing_Week) , [2] (#cite_note-2) The Wall Street Journal (/wiki/The_Wall_Street_Journal) , [3] (#cite_note-3) Women's Wear Daily (/wiki/Women%27s_Wear_Daily) , [4] (#cite_note-4) and the CEOWORLD magazine. [5] (#cite_note-5) Luxury Brand Status Index (LBSI) [ edit ] The Luxury Institute publishes annual Luxury Brand Status Index surveys, which aggregate the brand preferences of high-net-worth individuals (/wiki/High-net-worth_individual) within various luxury market categories. In 2009, some available categories included: Business publications (US) Business websites (US) Champagne (/wiki/Champagne_(wine)) and Sparkling wines (/wiki/Sparkling_wine) (US) Cognac (/wiki/Cognac) (US) Consumer publications (US) Consumer websites (US) Gin (/wiki/Gin) (US) Handbags (/wiki/Handbags) (US, Europe, Japan, China) Home appliances (US) Hotels (/wiki/Hotel) (US) Jewelry (US) Liqueur (/wiki/Liqueur) (US) Men's fashion (US, China) Men's shoes (US, China) Retailers (/wiki/Retailer) (US) Rum (/wiki/Rum) (US) Scotch (/wiki/Scotch_whisky) (US) Table wines (/wiki/Table_wine) (US) Ultra luxury autos (/wiki/Luxury_vehicle) (US) Vodka (/wiki/Vodka) (US) Wealth management (/wiki/Wealth_management) firms (US) Whiskey (/wiki/Whiskey) (US) Women's fashion (US, Europe, Japan, China) Women's shoes (US, Europe, Japan, China) References [ edit ] ^ (#cite_ref-1) Official website (https://www.luxuryinstitute.com/) ^ (#cite_ref-2) http://brandstrategy.wordpress.com/ (http://brandstrategy.wordpress.com/) MarketingWeek Brand & Business Blog ^ (#cite_ref-3) WSJ:"Luxury-Goods Makers Brandish Green Credentials" (https://www.wsj.com/articles/SB124650107013784081#articleTabs_comments) ^ (#cite_ref-4) WWD:"Luxury and Necessity" (http://www.wwd.com/media-news/luxury-and-necessity-redefining-values-2163624?gnewsid=87969279e938d4b4998e2daee05b63bf#) ^ (#cite_ref-5) The Future of Work (http://ceoworld.biz/2018/06/29/the-future-of-work-the-advent-of-artificial-intelligence-demands-even-greater-expertise-and-emotional-intelligence-from-every-worker/) NewPP limit report Parsed by mw‐api‐int.eqiad.main‐784d958b48‐bzs7l Cached time: 20240626164338 Cache expiry: 2592000 Reduced expiry: false Complications: [] CPU time usage: 0.043 seconds Real time usage: 0.054 seconds Preprocessor visited node count: 144/1000000 Post‐expand include size: 347/2097152 bytes Template argument size: 84/2097152 bytes Highest expansion depth: 8/100 Expensive parser function count: 0/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 2950/5000000 bytes Lua time usage: 0.003/10.000 seconds Lua memory usage: 575862/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 31.773 1 -total 100.00% 31.773 1 Template:Reflist 7.48% 2.377 1 Template:Main_other Saved in parser cache with key enwiki:pcache:idhash:23493043-0!canonical and timestamp 20240626164338 and revision id 1142603436. Rendering was triggered because: api-parse esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=The_Luxury_Institute&oldid=1142603436 (https://en.wikipedia.org/w/index.php?title=The_Luxury_Institute&oldid=1142603436) " Categories (/wiki/Help:Category) : Market research companies of the United States (/wiki/Category:Market_research_companies_of_the_United_States) Works about public opinion (/wiki/Category:Works_about_public_opinion)
Fashion and costume designer Matilda Etches Born Muriel Matilda Etches 1898 Rotherham (/wiki/Rotherham) , Yorkshire, England Died 1974 (aged 75–76) Occupation(s) Fashion designer and couturier; film and theatre costume designer Spouse(s) Robert Bamford (/wiki/Robert_Bamford) Paul Homan (/wiki/Paul_Homan) Children 1 daughter Relatives Robin Jacques (/wiki/Robin_Jacques) (son-in-law) Muriel Matilda Etches (1898–18 April 1974) was a British fashion designer and couturier, and a film and theatre costume designer. She first went into business in 1934, and found "widespread fame" in the 1940s. Etches was also a theatre and film costume designer, and worked with Sophie Fedorovitch (/wiki/Sophie_Fedorovitch) and Cecil Beaton (/wiki/Cecil_Beaton) . Clothes that she created in the 1940s were the first modern fashion items to be honoured as key acquisitions by London's Victoria and Albert Museum (/wiki/Victoria_and_Albert_Museum) . Early life [ edit ] Etches was born in Rotherham (/wiki/Rotherham) , Yorkshire. [1] (#cite_note-rca.ac.uk-1) She was the daughter of Charles Thomas Watkins Etches (1874–1964) and Agnes Helena Etches (nee Woollen). Her father was a captain in The King's Own Yorkshire Light Infantry (/wiki/King%27s_Own_Yorkshire_Light_Infantry) during World War I. [2] (#cite_note-London_Gazette-2) Career [ edit ] Etches started a dressmaking business in 1934, but financial problems led to it being dissolved the following year. She started a new business in the late 1930s, and had "widespread fame" in the 1940s. [1] (#cite_note-rca.ac.uk-1) According to a feature in Vogue (/wiki/Vogue_(magazine)) , "Her clothes philosophy is for undating simplicity, for an elegance which relies on cut rather than trimming and above all for comfort: this last, an unusual and very welcome viewpoint." [1] (#cite_note-rca.ac.uk-1) Her clients included the actress Vivien Leigh (/wiki/Vivien_Leigh) , [1] (#cite_note-rca.ac.uk-1) Margot Fonteyn (/wiki/Margot_Fonteyn) , Glynis Johns (/wiki/Glynis_Johns) , Constance Collier (/wiki/Constance_Collier) , Christine Norden (/wiki/Christine_Norden) , Paulette Goddard (/wiki/Paulette_Goddard) , and Valerie Hobson (/wiki/Valerie_Hobson) . [3] (#cite_note-Diffen2011-3) Etches was also a costume designer for theatre and film, and worked with theatre designer Sophie Fedorovitch (/wiki/Sophie_Fedorovitch) , [1] (#cite_note-rca.ac.uk-1) and extensively with Cecil Beaton (/wiki/Cecil_Beaton) . [3] (#cite_note-Diffen2011-3) According to the Victoria and Albert Museum (/wiki/Victoria_and_Albert_Museum) (V&A), "Matilda Etches is now almost entirely forgotten except as a theatre, ballet and opera costume-maker. However, she was an extremely talented couturier, whose fashionable clothes were innovative and very carefully made." [4] (#cite_note-V&A1-4) Personal life [ edit ] In 1919, Etches married the engineer Robert Bamford (/wiki/Robert_Bamford) , who founded a company that became Aston Martin (/wiki/Aston_Martin) . [1] (#cite_note-rca.ac.uk-1) They had a daughter, Patricia Bamford, who married the illustrator Robin Jacques (/wiki/Robin_Jacques) . [5] (#cite_note-5) [6] (#cite_note-6) In 1950, she married the American economist and economics advisor, Paul Homan (/wiki/Paul_Homan) . [1] (#cite_note-rca.ac.uk-1) She spent her later life at 19 Abbey Road in Brighton. [7] (#cite_note-7) [1] (#cite_note-rca.ac.uk-1) After her death, Cecil Beaton wrote an obituary. [1] (#cite_note-rca.ac.uk-1) Legacy [ edit ] Several Etches pieces are in the permanent collection of the Victoria and Albert Museum. Her 1948 evening dress of printed cotton is described as "an haute-couture interpretation of the wrapped garments traditionally worn by West African women", [4] (#cite_note-V&A1-4) and a 1949 evening cape. [8] (#cite_note-V&A2-8) In 1969, Etches donated selected items, and the cotton dress and evening cape were considered by senior V&A officials to be key acquisitions, the first modern fashion items to be so honoured. [8] (#cite_note-V&A2-8) Filmography as costume designer [ edit ] The Life and Death of Colonel Blimp (/wiki/The_Life_and_Death_of_Colonel_Blimp) (1943), with Joseph Buto (/w/index.php?title=Joseph_Buto&action=edit&redlink=1) [9] (#cite_note-bfi.org.uk-9) [10] (#cite_note-SantasWilson2014-10) Caesar and Cleopatra (/wiki/Caesar_and_Cleopatra_(film)) (1945) [9] (#cite_note-bfi.org.uk-9) Beware of Pity (/wiki/Beware_of_Pity) (1946) [9] (#cite_note-bfi.org.uk-9) Gaiety George (/wiki/Gaiety_George) (1946) [9] (#cite_note-bfi.org.uk-9) References [ edit ] ^ a b c d e f g h i "Unmaking Things 2013–14 – Matilda Etches: A re-discovery of a forgotten couturier" (http://unmakingthings.rca.ac.uk/2014/matilda-etches-a-re-discovery-of-a-forgotten-couturier-2/) . unmakingthings.rca.ac.uk . Retrieved 4 August 2018 . ^ (#cite_ref-London_Gazette_2-0) "Supplement to The London Gazette" (https://www.thegazette.co.uk/London/issue/29441/supplement/728/data.pdf) (PDF) . The London Gazette . 17 January 1916 . Retrieved 30 August 2018 . ^ a b Ray Diffen (27 September 2011). Ray Diffen Stage Clothes . Xlibris Corporation. pp. 17–20. ISBN (/wiki/ISBN_(identifier)) 978-1-4653-5673-4 . ^ a b "West African – Etches, Matilda – V&A Search the Collections" (https://collections.vam.ac.uk/item/O83594/west-african-evening-dress-etches-matilda/) . collections.vam.ac.uk . Retrieved 4 August 2018 . ^ (#cite_ref-5) "Obituary: Robin Jacques" (https://www.independent.co.uk/news/people/obituary-robin-jacques-1612378.html) . independent.co.uk . 23 March 1995. Archived (https://ghostarchive.org/archive/20220512/https://www.independent.co.uk/news/people/obituary-robin-jacques-1612378.html) from the original on 12 May 2022 . Retrieved 7 August 2018 . ^ (#cite_ref-6) "Obituaries: Robin Jacques" (https://www.independent.co.uk/news/people/obituaries-robin-jacques-1613340.html) . independent.co.uk . 29 March 1995. Archived (https://ghostarchive.org/archive/20220512/https://www.independent.co.uk/news/people/obituaries-robin-jacques-1613340.html) from the original on 12 May 2022 . Retrieved 7 August 2018 . ^ (#cite_ref-7) Times Saturday 20 April 1974, page 24 ^ a b "Butterfly – Etches, Matilda – V&A Search the Collections" (https://collections.vam.ac.uk/item/O16825/butterfly-evening-cape-etches-matilda/) . collections.vam.ac.uk . Retrieved 4 August 2018 . ^ a b c d "Matilda Etches" (https://web.archive.org/web/20180412103121/http://www.bfi.org.uk/films-tv-people/4ce2bb205ceba) . bfi.org.uk . Archived from the original (http://www.bfi.org.uk/films-tv-people/4ce2bb205ceba) on 12 April 2018 . Retrieved 4 August 2018 . ^ (#cite_ref-SantasWilson2014_10-0) Constantine Santas; James M. Wilson; Maria Colavito; Djoymi Baker (21 March 2014). The Encyclopedia of Epic Films . Scarecrow Press. p. 352. ISBN (/wiki/ISBN_(identifier)) 978-0-8108-8248-5 . 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Giuliana Farfalla Born Pascal Radermacher ( 1996-04-23 ) 23 April 1996 (age 28) Herbolzheim (/wiki/Herbolzheim) , Germany Occupation(s) Model and television host Height 1.78 m (5 ft 10 in) Giuliana Radermacher (born 23 April 1996), known by her stage name Giuliana Farfalla , is a German model. [1] (#cite_note-1) Biography [ edit ] Farfalla is from Herbolzheim (/wiki/Herbolzheim) in Breisgau (/wiki/Breisgau) . She was assigned male at birth (/wiki/Assigned_male_at_birth) , and had sex reassignment surgery (/wiki/Sex_reassignment_surgery) at the age of 16. [2] (#cite_note-2) Farfalla participated on the twelfth season (/wiki/Germany%27s_Next_Topmodel_(cycle_12)) of Germany's Next Topmodel (/wiki/Germany%27s_Next_Topmodel) , and finished in eleventh place. In January 2018, she became the first transgender model to appear on the cover of the German Playboy (/wiki/Playboy) . In the same month, she appeared on the twelfth season of Ich bin ein Star – Holt mich hier raus! (/wiki/Ich_bin_ein_Star_%E2%80%93_Holt_mich_hier_raus!) . [3] (#cite_note-3) [4] (#cite_note-4) References [ edit ] ^ (#cite_ref-1) "Transgender model to appear on German Playboy cover for the first time" (https://www.independent.co.uk/life-style/playboy-transgender-woman-giuliana-farfalla-cover-first-time-lgbt-a8152051.html) . Independent (/wiki/The_Independent) . 10 January 2018 . Retrieved 12 January 2018 . ^ (#cite_ref-2) "Nackte Premiere: Trans-Model Giuliana Farfalla ziert den "Playboy" (https://www.stern.de/kultur/tv/dschungelcamp/dschungelcamp-2018--transgender-model-giuliana-farfalla-ziert-den--playboy--7816662.html) " (https://www.stern.de/kultur/tv/dschungelcamp/dschungelcamp-2018--transgender-model-giuliana-farfalla-ziert-den--playboy--7816662.html) . Stern (/wiki/Stern_(magazine)) . 10 January 2018 . Retrieved 12 January 2018 . ^ (#cite_ref-3) "Transgender model on German Playboy cover" (https://www.bbc.co.uk/news/world-europe-42633601) . BBC News . 12 January 2018 . Retrieved 12 January 2018 . ^ (#cite_ref-4) "Titelstar Giuliana Farfalla" (http://www.playboy.de/stars/giuliana-farfalla) . 20 December 2017 . Retrieved 12 January 2018 . External links [ edit ] Giuliana Farfalla (https://www.imdb.com/name/nm9415308/) at IMDb (/wiki/IMDb_(identifier)) v t e Germany's Next Topmodel (/wiki/Germany%27s_Next_Topmodel) Seasons 1 (/wiki/Germany%27s_Next_Topmodel_season_1) 2 (/wiki/Germany%27s_Next_Topmodel_season_2) 3 (/wiki/Germany%27s_Next_Topmodel_season_3) 4 (/wiki/Germany%27s_Next_Topmodel_season_4) 5 (/wiki/Germany%27s_Next_Topmodel_season_5) 6 (/wiki/Germany%27s_Next_Topmodel_season_6) 7 (/wiki/Germany%27s_Next_Topmodel_season_7) 8 (/wiki/Germany%27s_Next_Topmodel_season_8) 9 (/wiki/Germany%27s_Next_Topmodel_season_9) 10 (/wiki/Germany%27s_Next_Topmodel_season_10) 11 (/wiki/Germany%27s_Next_Topmodel_season_11) 12 (/wiki/Germany%27s_Next_Topmodel_season_12) 13 (/wiki/Germany%27s_Next_Topmodel_season_13) 14 (/wiki/Germany%27s_Next_Topmodel_season_14) 15 (/wiki/Germany%27s_Next_Topmodel_season_15) 16 (/wiki/Germany%27s_Next_Topmodel_season_16) 17 (/wiki/Germany%27s_Next_Topmodel_season_17) 18 (/wiki/Germany%27s_Next_Topmodel_season_18) 19 (/wiki/Germany%27s_Next_Topmodel_season_19) Contestants (/wiki/List_of_Germany%27s_Next_Topmodel_contestants) Winners Lena Gercke (/wiki/Lena_Gercke) Barbara Meier (/wiki/Barbara_Meier) Jennifer Hof (/wiki/Jennifer_Hof) Sara Nuru (/wiki/Sara_Nuru) Alisar Ailabouni (/wiki/Alisar_Ailabouni) Jana Beller (/wiki/Jana_Beller) Luisa Hartema (/wiki/Luisa_Hartema) Lovelyn Enebechi (/wiki/Lovelyn_Enebechi) Stefanie Giesinger (/wiki/Stefanie_Giesinger) Vanessa Fuchs (/wiki/Vanessa_Fuchs) Kim Hnizdo (/wiki/Kim_Hnizdo) Céline Bethmann (/wiki/C%C3%A9line_Bethmann) Toni Dreher-Adenuga (/wiki/Toni_Dreher-Adenuga) Simone Kowalski (/wiki/Simone_Kowalski) Jacky Wruck (/wiki/Jacky_Wruck) Alex-Mariah Peter (/wiki/Alex-Mariah_Peter) Lou-Anne Gleißenebner-Teskey (/wiki/Lou-Anne_Glei%C3%9Fenebner-Teskey) Vivien Blotzki (/wiki/Vivien_Blotzki) Other alumni Micaela Schäfer (/wiki/Micaela_Sch%C3%A4fer) Fiona Erdmann (/wiki/Fiona_Erdmann) Vanessa Hegelmaier (/wiki/Vanessa_Hegelmaier) Milla von Krockow (/wiki/Milla_von_Krockow) Gina-Lisa Lohfink (/wiki/Gina-Lisa_Lohfink) Larissa Marolt (/wiki/Larissa_Marolt) Rebecca Mir (/wiki/Rebecca_Mir) Giuliana Radermacher Miriam Rautert (/wiki/Miriam_Rautert) Related Die Model WG (/wiki/Die_Model_WG_(German_TV_series)) Top Model (/wiki/Top_Model) Austria's Next Topmodel (/wiki/Austria%27s_Next_Topmodel) Switzerland's Next Topmodel (/wiki/Switzerland%27s_Next_Topmodel) Authority control databases (/wiki/Help:Authority_control) International VIAF (https://viaf.org/viaf/63151594360805351654) WorldCat (https://id.oclc.org/worldcat/entity/E39PBJhd43xM7C8kg8TYwwpQMP) National Germany (https://d-nb.info/gnd/1150434325) This biography related to lesbian (/wiki/Lesbian) , gay (/wiki/Gay) , bisexual (/wiki/Bisexuality) , or transgender (/wiki/Transgender) history (/wiki/LGBT_history) or culture (/wiki/LGBT_culture) is a stub (/wiki/Wikipedia:Stub) . You can help Wikipedia by expanding it (https://en.wikipedia.org/w/index.php?title=Giuliana_Farfalla&action=edit) . v t e This biographical article about a German model is a stub (/wiki/Wikipedia:Stub) . 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Canadian fashion designer Hayley Elsaesser Nationality Canadian Education Queensland University of Technology (/wiki/Queensland_University_of_Technology) Occupation Fashion designer Website www (https://www.hayleyelsaesser.com/) .hayleyelsaesser (https://www.hayleyelsaesser.com/) .com (https://www.hayleyelsaesser.com/) Hayley Elsaesser is an Australian-educated fashion designer based in Hamilton, Ontario (/wiki/Hamilton,_Ontario) . [1] (#cite_note-Kyte-1) [2] (#cite_note-Hewitt-2) Elsaesser grew up in Cambridge, Ontario (/wiki/Cambridge,_Ontario) . [1] (#cite_note-Kyte-1) [2] (#cite_note-Hewitt-2) She developed an interest in fashion shopping at second hand stores. [1] (#cite_note-Kyte-1) [3] (#cite_note-BSBprofile-3) She studied at the Queensland University of Technology (/wiki/Queensland_University_of_Technology) , graduating in 2013. [1] (#cite_note-Kyte-1) Her eponymous (/wiki/Eponym) fashion line was launched the same year. [4] (#cite_note-RSN2016-4) [5] (#cite_note-Kilkenny-5) [6] (#cite_note-Yakobi-6) Elsaesser opened a flagship store on Toronto (/wiki/Toronto) 's Queen Street West (/wiki/Queen_Street_(Toronto)) in 2015. [7] (#cite_note-Agnew-7) She moved the business online in 2020 and relocated to Hamilton, Ontario. [2] (#cite_note-Hewitt-2) Elsaesser has dressed celebrities including Katy Perry (/wiki/Katy_Perry) and Miley Cyrus (/wiki/Miley_Cyrus) . [8] (#cite_note-Moneta-8) Her designs appeared in Tegan and Sara (/wiki/Tegan_and_Sara) 's video for the single U-Turn . [1] (#cite_note-Kyte-1) [9] (#cite_note-9) In 2022 she partnered with Smirnoff (/wiki/Smirnoff) to design the limited edition Very Berry Cool collection, using coolant material. [10] (#cite_note-NewswireVBC-10) She has previously worked with Nike (/wiki/Nike,_Inc.) , Coors (/wiki/Coors_Brewing_Company) and Taco Bell (/wiki/Taco_Bell) . [2] (#cite_note-Hewitt-2) References [ edit ] ^ a b c d e Kyte, Kathryn (22 August 2018). "Catching Up With Toronto's Buzziest Designer, Hayley Elsaesser" (https://29secrets.com/style/behind-the-designer-hayley-elsaesser/) . 29Secrets . Retrieved 29 September 2022 . ^ a b c d Hewitt, Fallon (26 November 2020). " (https://www.thespec.com/life/fashion-style/2020/11/26/a-creative-paradise-toronto-designer-hayley-elsaesser-makes-leap-to-hamilton.html) 'A creative paradise': Toronto designer Hayley Elsaesser makes leap to Hamilton" (https://www.thespec.com/life/fashion-style/2020/11/26/a-creative-paradise-toronto-designer-hayley-elsaesser-makes-leap-to-hamilton.html) . The Hamilton Spectator . Retrieved 29 September 2022 . ^ (#cite_ref-BSBprofile_3-0) "How Hayley Elsaesser Challenged the Fashion Industry's Status Quo" (https://baystbull.com/how-hayley-elsaesser-challenged-the-fashion-industrys-status-quo/) . Bay Street Bull . 31 March 2022 . Retrieved 29 September 2022 . ^ (#cite_ref-RSN2016_4-0) "Emerging Canadian Designer Hayley Elsaesser On Her Crazy New Collection & Body Diversity" (https://www.realstylenetwork.com/fashion-and-style/2016/04/emerging-canadian-designer-hayley-elsaesser-on-her-new-collection-body-diversity/) . Real Style Network . 8 April 2016 . Retrieved 29 September 2022 . ^ (#cite_ref-Kilkenny_5-0) Kilkenny, Carmel (18 March 2016). "Toronto Fashion Week winds down" (https://www.rcinet.ca/en/2016/03/18/toronto-fashion-week-winds-down/) . RCI . Retrieved 29 September 2022 . ^ (#cite_ref-Yakobi_6-0) Yakobi, Hannah (5 September 2017). "Toronto Fashion Week Spotlight: Hayley Elsaesser" (https://fashionmagazine.com/style/toronto-fashion-week-spotlight-hayley-elsaesser/) . FASHION Magazine . Retrieved 29 September 2022 . ^ (#cite_ref-Agnew_7-0) Agnew, Caitlin (20 September 2016). "Q&A: Hayley Elsaesser, the city's buzziest new designer" (https://torontolife.com/style/toronto-fall-style-guide-2016-hayley-elsaesser/) . Toronto Life . Retrieved 29 September 2022 . ^ (#cite_ref-Moneta_8-0) Moneta, Caitlan (23 November 2016). "Toronto's Hayley Elsaesser Designs for Her Musical Muse Miley Cyrus" (https://fashionmagazine.com/style/hayley-elsaesser-miley-cyrus/) . FASHION Magazine . Retrieved 29 September 2022 . ^ (#cite_ref-9) "TEGAN AND SARA RELEASE SHORT FILM INSPIRED BY "U-TURN" (https://themusicexpress.ca/tegan-and-sara-release-short-film-inspired-by-u-turn/) . The Music Express . Retrieved 29 September 2022 . ^ (#cite_ref-NewswireVBC_10-0) "Toronto Designer Hayley Elsaesser Creates Very Berry Cool High Function, High Fashion line" (https://www.newswire.ca/news-releases/toronto-designer-hayley-elsaesser-creates-very-berry-cool-high-function-high-fashion-line-828987862.html) . www.newswire.ca . 1 June 2022 . Retrieved 29 September 2022 . 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American fashion model Selena Forrest Forrest for Chaos in 2016 Born ( 1999-04-29 ) April 29, 1999 (age 25) Lafayette, Louisiana (/wiki/Lafayette,_Louisiana) , U.S. [3] (#cite_note-3) Occupation Model Years active 2015–present Modeling information Height 1.78 m (5 ft 10 in) [1] (#cite_note-1) Hair color Brown Eye color Brown Agency Next Model Management (/wiki/Next_Model_Management) (New York, Paris, Milan, London, Los Angeles, Miami) [2] (#cite_note-2) Selena Forrest (born April 29, 1999), is an American fashion model (/wiki/Fashion_model) . As of 2017, Models.com ranked her as one of the Top 50 models in the fashion industry. [4] (#cite_note-4) Early life [ edit ] Forrest was born in Lafayette (/wiki/Lafayette,_Louisiana) , Louisiana, [5] (#cite_note-5) and relocated to California (/wiki/California) after Hurricane Katrina (/wiki/Hurricane_Katrina) . [6] (#cite_note-6) She changed schools repeatedly as her family moved first to San Pedro (/wiki/San_Pedro,_Los_Angeles) , then Long Beach (/wiki/Long_Beach,_California) , and finally Riverside (/wiki/Riverside,_California) . [7] (#cite_note-Hyland_2018-7) Career [ edit ] Forrest walks at the Paco Rabanne (/wiki/Paco_Rabanne) Fall Winter 2019-20 show Forrest was discovered in Huntington Beach (/wiki/Huntington_Beach) in 2015. [8] (#cite_note-Weinstock_2018-8) [7] (#cite_note-Hyland_2018-7) Forrest manually removed her own braces to launch her career and first job. [9] (#cite_note-9) A few months later, Forrest signed with Next Models (/wiki/Next_models) , [7] (#cite_note-Hyland_2018-7) debuting as a Proenza Schouler (/wiki/Proenza_Schouler) exclusive in 2016. [10] (#cite_note-10) She has appeared in campaigns for Yves Saint Laurent (/wiki/Yves_Saint_Laurent_(designer)) , [11] (#cite_note-11) Proenza Schouler (/wiki/Proenza_Schouler) , Calvin Klein (/wiki/Calvin_Klein) , [12] (#cite_note-12) Prada (/wiki/Prada) , [13] (#cite_note-13) Dior (/wiki/Dior) , [14] (#cite_note-14) Valentino (/wiki/Valentino_SpA) , [15] (#cite_note-15) Fenty Beauty (/wiki/Fenty_Beauty) , [16] (#cite_note-16) Topshop (/wiki/Topshop) , DKNY (/wiki/DKNY) , H&M (/wiki/H%26M) [17] (#cite_note-17) and Adidas (/wiki/Adidas) . [18] (#cite_note-18) On the runway she has walked for Alexander McQueen (/wiki/Alexander_McQueen_(brand)) , Céline (/wiki/C%C3%A9line_(brand)) , Chanel (/wiki/Chanel) , Emilio Pucci (/wiki/Emilio_Pucci) (which she closed) [19] (#cite_note-19) Fendi (/wiki/Fendi) , Kenzo (/wiki/Kenzo_(brand)) , Oscar de la Renta (/wiki/Oscar_de_la_Renta) , Roberto Cavalli (/wiki/Roberto_Cavalli) , Tom Ford (/wiki/Tom_Ford) , Vera Wang (/wiki/Vera_Wang) , and Versace (/wiki/Versace) among many others. [20] (#cite_note-20) She was the cover model for the i-D (/wiki/I-D) "Futurewise" issue [8] (#cite_note-Weinstock_2018-8) as well as twice appearing on the cover The New York Times (/wiki/The_New_York_Times) style magazine, T (/wiki/T:_The_New_York_Times_Style_Magazine) . [21] (#cite_note-21) Forrest has spoken out on issues of racial equity in the fashion industry, critiquing designers who don't cast models of color [7] (#cite_note-Hyland_2018-7) as well as the lack of stylists able to care for black women's hair properly. [22] (#cite_note-22) Personal life [ edit ] Speaking to The Cut , Forrest described her sexuality as, "I love girls. Or, you know what, I just love people. So, that’s what it is. I don’t really categorize it, but if there was a category, I would probably be bisexual. But I have never been with a guy." [7] (#cite_note-Hyland_2018-7) [23] (#cite_note-23) . References [ edit ] ^ (#cite_ref-1) "Next / New York / Selena Forrest" (https://www.nextmanagement.com/new-york/profile/selena-forrest) . www.nextmanagement.com . ^ (#cite_ref-2) "Selena Forrest - Model" (https://models.com/models/selena-forrest) . MODELS.com . ^ (#cite_ref-3) "5 things to know about model Selena Forrest" (https://www.usatoday.com/story/life/entertainthis/2016/09/06/5-things-to-know-about-model-selena-forrest/89923336/) . USA TODAY . ^ (#cite_ref-4) "MODELS.com's Top 50 Models" (https://models.com/rankings/ui/Top50/21860#21860) . models.com . Retrieved 2018-01-18 . ^ (#cite_ref-5) Jones, Jaleesa M. (September 6, 2016). "5 things to know about model Selena Forrest" (https://www.usatoday.com/story/life/entertainthis/2016/09/06/5-things-to-know-about-model-selena-forrest/89923336/) . USA TODAY . Retrieved 2018-01-18 . ^ (#cite_ref-6) "Tragedy unknowingly turned this teen into fashion's most in-demand model" (https://nypost.com/2016/10/23/being-displaced-by-tragedy-turned-this-teen-into-fashions-most-in-demand-model/) . New York Post . 2016-10-23 . Retrieved 2018-01-18 . ^ Jump up to: a b c d e Hyland, Véronique. "Up-and-Comer Selena Forrest Isn't Afraid to Tell the Truth About Modeling" (https://www.thecut.com/2016/09/model-selena-forrest-on-diversity-in-fashion.html) . The Cut . Retrieved 2018-01-19 . ^ Jump up to: a b Weinstock, Tish (2016-11-10). "10 things you need to know about selena forrest" (https://i-d.vice.com/en_uk/article/mbem5p/10-things-you-need-to-know-about-selena-forrest) . I-d . Retrieved 2018-01-18 . ^ (#cite_ref-9) Okwodu, Janelle (October 28, 2016). "How Selena Forrest Skated Her Way Into Modeling Stardom" (https://www.vogue.com/article/selena-forrest-modeling-cool-girl-skateboarder) . Vogue . Retrieved 2018-01-18 . ^ (#cite_ref-10) "Now Casting Selena Forrest" (http://www.crfashionbook.com/fashion/a10018292/now-casting-selena-forrest/) . CR Fashion Book . 2016-05-16 . Retrieved 2018-01-18 . ^ (#cite_ref-11) Davies, Marie Périer, translated by Megan. "The most scandalous Saint Laurent campaigns" (http://en.vogue.fr/fashion/fashion-news/diaporama/yves-saint-laurent-naked-campaign-scandal-homme-opium/41323#yves-saint-laurent-nu-campagne-sulcampagne-printemps-ete-2017-saint-laurent-selena-forrest-hiandra-martinez-collier-schorr-anthony-vaccarello_image4) . Vogue English . Retrieved 2018-01-18 . {{ cite news (/wiki/Template:Cite_news) }} : CS1 maint: multiple names: authors list ( link (/wiki/Category:CS1_maint:_multiple_names:_authors_list) ) ^ (#cite_ref-12) "Meet Selena Forrest, The New Face of Saint Laurent, Proenza Schouler, and Calvin Klein" (https://vmagazine.com/article/selena-forrest-face-saint-laurent-proenza-schouler-calvin-klein-appointment/) . V Magazine . Retrieved 2018-01-18 . ^ (#cite_ref-13) "Prada Presents Encounters – Wonderland" (https://www.wonderlandmagazine.com/2017/04/28/prada-presents-encounters/) . Wonderland . 2017-04-28 . Retrieved 2018-01-18 . ^ (#cite_ref-14) "dior celebrate the power of modern womanhood in new campaign" (https://i-d.vice.com/en_uk/article/bjnedm/dior-celebrate-the-power-of-modern-womanhood-in-new-campaign) . I-d . 2017-06-28 . Retrieved 2018-01-18 . ^ (#cite_ref-15) Teeman, Tim (2017-10-24). "Fashion Brands Valentino and Bulgari Drop Terry Richardson" (https://www.thedailybeast.com/major-fashion-label-valentino-drops-terry-richardson) . The Daily Beast . Retrieved 2018-01-18 . ^ (#cite_ref-16) Simmons, Shea. "Who Are The Models In The Fenty Beauty Video? The Internet Is Obsessed With The Campaign's Diverse Stars" (https://www.bustle.com/p/who-are-the-models-in-the-fenty-beauty-video-the-internet-is-obsessed-with-the-campaigns-diverse-stars-80510) . Bustle . Retrieved 2018-01-18 . ^ (#cite_ref-17) "Selena Forrest" (https://www.interviewmagazine.com/fashion/selena-forrest) . Interview Magazine . 2017-02-15 . Retrieved 2018-01-18 . ^ (#cite_ref-18) "Hold Up! More Adidas Originals x Alexander Wang Just Dropped" (https://www.refinery29.com/2017/10/178598/adidas-originals-alexander-wang-season-two-drop-three) . Refinery29 . Retrieved 2018-01-18 . ^ (#cite_ref-19) "5 Models Who Ruled The Catwalks In Milan" (http://www.elleuk.com/fashion/trends/news/a32041/arrivederci-milano/) . ELLE UK . 2016-09-26 . Retrieved 2018-01-18 . ^ (#cite_ref-20) Spradley, Nykia (October 5, 2016). "This Black Model Ran Fashion Month and We Have The Receipts!" (https://www.essence.com/fashion/selena-forrest-fashion-month-beauty-looks) . Essence . Retrieved 2018-01-18 . ^ (#cite_ref-21) "Ten Models We Loved a Lot This Year" (https://www.nytimes.com/slideshow/2016/12/22/t-magazine/fashion/best-models-rianne-van-rompaey-selena-forrest-jean-campbell/s/15tmag-bestfashion-slide-RTD8.html) . The New York Times . 2016-12-22. ISSN (/wiki/ISSN_(identifier)) 0362-4331 (https://www.worldcat.org/issn/0362-4331) . Retrieved 2018-01-19 . ^ (#cite_ref-22) Nikki, Brown (February 16, 2017). "Model Selena Forrest Is Here To Remind You That Curly Hair Matters" (https://www.essence.com/hair/natural/selena-forrest-hair-edges) . Essence . Retrieved 2018-01-19 . ^ (#cite_ref-23) "Model Selena Forrest Is Bisexual-ish, Also Removed Her Own Braces With Pliers" (https://www.autostraddle.com/model-selena-forrest-is-bisexual-also-removed-her-own-braces-with-pliers-350901/) . Autostraddle . 2016-09-07 . Retrieved 2018-01-19 . 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Tull Price (born 8 March 1976) is a footwear designer, entrepreneur, and business owner. Early life [ edit ] Tull Price grew up between Israel and Australia, spending his teen years organising parties and club nights in Sydney. [ citation needed ] Since 1995, he has also spent time in New York, London, Amsterdam, and Los Angeles. [1] (#cite_note-1) He has lived in New York City for about 20 years. He lives in Brooklyn, New York with his wife, fashion stylist Natasha Shick, and their two children. [2] (#cite_note-Brains-2) [ failed verification ] Royal Elastics [ edit ] Main article: Royal Elastics (/wiki/Royal_Elastics) Tull founded Royal Elastics in Australia with his business partner Rodney Adler in 1996 [3] (#cite_note-3) when he was only twenty years old. [4] (#cite_note-4) [5] (#cite_note-5) Inspired by the skateboard trends of the 1990s, the brand is known for its sneakers which fasten with velcro and elasticated cord instead of laces. [6] (#cite_note-6) Started with only $5,000, [7] (#cite_note-7) the brand gained traction very quickly. By 1999 they were selling close to 1 million pairs a year and were available in 35 countries around the world, [8] (#cite_note-8) including ten of their own stores in Asia and one in the United States. [9] (#cite_note-9) They sold the company to K-Swiss (/wiki/K-Swiss) in November 2001 [10] (#cite_note-10) [11] (#cite_note-11) for an undisclosed amount. Tull relocated from Sydney, Australia to K-Swiss headquarters at Westlake Village, California [12] (#cite_note-12) in 2001 to serve as President of the company and left the following year. [13] (#cite_note-13) [14] (#cite_note-14) FEIT [ edit ] Main article: FEIT (/wiki/FEIT) Towards the end of his time at Royal Elastics, Tull became dissatisfied with the direction the product was heading. "It had become about sales volume, quarterly profits and no longer about quality product." [15] (#cite_note-15) After leaving Royal, Tull took the next two years to travel around Europe in search of traditional cobblers to teach him old school shoemaking techniques. Upon returning to NYC in 2004 with a better understanding of what makes a high quality pair of shoes, Tull enlisted his brother, Josh Price, to help found FEIT in 2005. [16] (#cite_note-16) FEIT was founded as a response to " fast fashion (/wiki/Fast_fashion) " [17] (#cite_note-17) [18] (#cite_note-18) and is one of the founders of the neo-luxury [19] (#cite_note-19) movement. The opposite of mass-production, all FEIT shoes are made entirely by hand and signed by the craftsman who made it. [20] (#cite_note-20) Old world techniques and constructions are used, such as the Handsewn Goodyear Welt and Stitchdown constructions. FEIT has two stores in New York City [21] (#cite_note-21) [22] (#cite_note-22) [2] (#cite_note-Brains-2) [23] (#cite_note-23) and one in Sydney, Australia. Rag & Bone [ edit ] Main article: Rag & Bone (/wiki/Rag_%26_Bone) Tull met Marcus Wainwright in 2001 when he was working for Royal Elastics. Marcus started Rag & Bone in 2003, and in 2008 they contacted Tull to discuss the possibility of bringing footwear into their then-growing company. They partnered to found the footwear division of Rag & Bone in the spring of 2009. [24] (#cite_note-24) [25] (#cite_note-25) [26] (#cite_note-26) Tull still serves as President and Creative Director of Footwear at Rag & Bone. [27] (#cite_note-27) The Rag & Bone "Newbury" boot, designed in 2011, remains one of the best sellers for the brand. [28] (#cite_note-28) References [ edit ] ^ (#cite_ref-1) "Tull Price" (https://web.archive.org/web/20160216135023/http://downunderuptop.com/blog/2013/9/23/tull-price) . Down Under Up Top . 23 September 2013. Archived from the original (http://downunderuptop.com/blog/2013/9/23/tull-price) on 16 February 2016 . Retrieved 18 December 2015 . ^ a b Simpson, Ashley (25 November 2014). "Meet the Brains Behind NYC's Coolest New Shoe Shop" (https://www.yahoo.com/style/meet-the-brains-behind-nycs-coolest-new-shoe-shop-103576928748.html) . Yahoo Style . Yahoo . Retrieved 18 December 2015 . ^ (#cite_ref-3) "Tull Price" (http://downunderuptop.com/blog/2013/9/23/tull-price) . Down Under Up Top . Retrieved 18 December 2015 . ^ (#cite_ref-4) Anniss, Elisa. "The global trend for luxury men's trainers" (http://howtospendit.ft.com/mens-fashion/57923-the-global-trend-for-luxury-mens-trainers) . Financial Times . Retrieved 18 December 2015 . ^ (#cite_ref-5) Buerger, Megan. "Tull Price Makes the Perfect Leather Sneakers" (http://www.mensjournal.com/style/shoes/tull-price-makes-the-perfect-leather-sneakers-20140328) . Style . Men's Journal . Retrieved 18 December 2015 . ^ (#cite_ref-6) "ROYAL ELASTICS" (http://www.royalelastics.com/pages/brand-story) . royalelastics.com . ^ (#cite_ref-7) O'Loughlin, Sandra. "Tull Price: Royal flush; a couple of blokes make millions fusing fashion and athletic footwear. (Marketers of the Next Generation)" (https://web.archive.org/web/20160305023003/https://business.highbeam.com/137330/article-1G1-99932607/tull-price-royal-flush-couple-blokes-make-millions) . Brandweek . Archived from the original (https://business.highbeam.com/137330/article-1G1-99932607/tull-price-royal-flush-couple-blokes-make-millions) on 5 March 2016 . Retrieved 18 December 2015 . ^ (#cite_ref-8) Safe, Georgina (9 December 2014). "Sneaker brothers take issue with industry excess" (http://www.smh.com.au/lifestyle/fashion/sneaker-brothers-take-issue-with-industry-excess-20141119-11pzk6.html) . The Sydney Morning Herald . Retrieved 18 December 2015 . ^ (#cite_ref-9) Meagher, David. "Feit founders are the shoe fighters" (http://www.theaustralian.com.au/life/wish/shoe-fighters/story-e6frg8io-1226611481855) . The Australian . Retrieved 14 December 2015 . ^ (#cite_ref-10) "K-Swiss Acquires Royal Elastics Footwear; Niche Brand – the Leading Innovator of Slip-On, Laceless Footwear" (http://www.thefreelibrary.com/K-Swiss+Acquires+Royal+Elastics+Footwear%3B+Niche+Brand+-+the+Leading...-a080013003) . The Free Library . Business Wire . Retrieved 18 December 2015 . ^ (#cite_ref-11) "K-SWISS BUYS ROYAL ELASTICS" (http://www.sginews.com/EMS_Base/EMS_Excerpt.aspx?tTargetUrl=/Content/K-SWISS-BUYS-ROYAL-ELASTICS-7885.aspx) . SPORTING GOODS INTELLIGENCE . SGINEWS.COM . Retrieved 18 December 2015 . ^ (#cite_ref-12) "Ventura County Star, Calif., Business Briefs Column" (https://web.archive.org/web/20121105045028/http://www.highbeam.com/doc/1G1-80074188.html) . 14 November 2001. Archived from the original (http://www.highbeam.com/doc/1G1-80074188.html) on 5 November 2012 . Retrieved 16 July 2015 . ^ (#cite_ref-13) "Workspace: Josh & Tull Price — Oliver Grand" (http://olivergrand.com/workspace-josh-tull-price/) . olivergrand.com . ^ (#cite_ref-14) Buerger, Megan (28 March 2014). "Tull Price Makes the Perfect Leather Sneakers" (http://www.mensjournal.com/style/shoes/tull-price-makes-the-perfect-leather-sneakers-20140328#ixzz3c16Pxk55) . Men's Journal (/wiki/Men%27s_Journal) . Retrieved 14 December 2015 . ...Price bowed out in 2002. ^ (#cite_ref-15) "INTERVIEW: Tull Price, Co-founder of Feit Shoes" (https://web.archive.org/web/20140407231809/http://www.trendition.co.uk/interview-tull-price-co-founder-of-feit-shoes/) . Trendition . 1 March 2014. Archived from the original (http://www.trendition.co.uk/interview-tull-price-co-founder-of-feit-shoes/) on 7 April 2014 . Retrieved 17 March 2023 . ^ (#cite_ref-16) Mr Bailey (22 August 2012). "Archived Interview \| Feit Co-Owner Josh Price" (https://web.archive.org/web/20120827081253/https://www.conceptkicks.com/interview-feit-co-owner-josh-price/) . Conceptkicks . Archived from the original (http://conceptkicks.com/interview-feit-co-owner-josh-price/) on 27 August 2012 . Retrieved 17 March 2023 . ^ (#cite_ref-17) Dystant, Lena. "SELECTISM Q&A FEIT – BEHIND THE SCENES WITH CO-FOUNDER TULL PRICE" (http://www.selectism.com/2014/02/18/selectism-qa-beyond-the-scenes-with-josh-tull-price-of-feit/#slide-1) . Selectism . Retrieved 18 December 2015 . ^ (#cite_ref-18) Wilkinson, Isabel (25 November 2014). "Meet FEIT, a Shoe Brand That Believes in Quality Over Quantity" (http://nymag.com/thecut/2014/11/shoe-brand-that-likes-to-keep-things-simple.html#) . New York . Retrieved 18 December 2015 . ^ (#cite_ref-19) "NEO-LUXURY: CHANGING VALUES, CHANGING HABITS OF CONSUMPTION" (http://www.starkweather.co/blog/2013/9/15/neo-luxury-changing-values-changing-habits-of-consumption) . Starkweather . Retrieved 14 December 2015 . ^ (#cite_ref-20) Safe, Georgina (9 December 2014). "Sneaker brothers take issue with industry excess" (http://www.smh.com.au/lifestyle/fashion/sneaker-brothers-take-issue-with-industry-excess-20141119-11pzk6.html) . The Sydney Morning Herald . Retrieved 18 December 2015 . ^ (#cite_ref-21) Tikhonova., Polina. "Jordana Maisie's Creative Shoe Store Design" (http://www.jdesigngroup.com/interior-designer-blog/luxury-interior-design/jordana-maisies-creative-shoe-store-design/) . Design Group . Retrieved 18 December 2015 . ^ (#cite_ref-22) Allaire, Christian (December 2014). "Feit Club: Brand Expands in NYC" (http://footwearnews.com/2014/business/retail/feit-expands-nyc-1265/) . Footwear News . Retrieved 18 December 2015 . ^ (#cite_ref-23) Schram, Lauren (4 August 2014). "Aussie Shoe Designer Feit Coming to U.S. via Nolita" (https://commercialobserver.com/2014/08/australian-shoe-designer-feit-coming-to-u-s-via-nolita/) . Commercial Observer . Retrieved 18 December 2015 . ^ (#cite_ref-24) "TIMBERLAND BOOT COMPANY AND RAG & BONE PARTNER TO LAUNCH LIMITED COLLECTION OF MEN'S FOOTWEAR FOR FALL 2010" (http://newsroom.timberland.com/Press-Releases/Detail/TIMBERLAND-BOOT-COMPANY-AND-RAG-And-BONE-PARTNER-TO-LAUNCH-LIMITED-COLLECTION-OF-MENS-FOOTWEAR-FOR-FALL-2010) . Timberland . Retrieved 18 December 2015 . ^ (#cite_ref-25) "FEIT Designer Tull Price on Simplicity, Luxury, and How He Made the First All-Natural Sneaker" (http://syndicate.details.com/post/restraint-over-excess-feit-footwear) . Details Style Syndicate . ^ (#cite_ref-26) Frakes, Julia. "SHOP TALK: RACHEL KICHLER OF RAG & BONE" (http://www.papermag.com/shop-talk-rachel-kichler-of-rag-bone-1425575820.html) . Paper Mag . Paper . Retrieved 18 December 2015 . ^ (#cite_ref-27) "Sneaker Brothers take issue with industry excess" (http://www.smh.com.au/lifestyle/fashion/sneaker-brothers-take-issue-with-industry-excess-20141209-11pzk6.html) . 9 December 2014. ^ (#cite_ref-28) "Celebs love Rag & Bone's Newbury Boot" (http://www.flashion-lights.com/2013/07/rag-bone-newbury-boot.html) . Fashion Lights. 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English textile and fashion designer Sue Clowes (born 31 October 1957) is an English (/wiki/England) textile and fashion designer known for the collection that launched Boy George (/wiki/Boy_George) and Culture Club (/wiki/Culture_Club) in 1981. Childhood and early life [ edit ] Sue Clowes (Susan Ellen Patricia Clowes) was born on 31 October 1957 in Islington (/wiki/Islington) , London (/wiki/London) , England (/wiki/England) to William Reginald Clowes and Ellen Atkins. Education [ edit ] Clowes attended Camberwell School of Arts and Crafts (/wiki/Camberwell_College_of_Arts) to study textile design (/wiki/Textile_design) and screen printing (/wiki/Screen_printing) . Career [ edit ] Textiles and fashion [ edit ] In 1979, Clowes began her career selling her printed clothing on a stall at Camden Lock Market (/wiki/Camden_Lock_Market) . Jon Baker (/wiki/Jon_Baker_(producer)) helped her expand when he bought everything she had on her stall to stock his shop Axiom in The Great Gear Market, King's Road (/wiki/King%27s_Road) . She opened a shop in Kensington Market (/wiki/Kensington_Market) and began manufacturing clothes and accessories. Throughout Clowes's career, music and musicians have influenced her work: Culture Club (/wiki/Culture_Club) approached her to design [1] (#cite_note-1) a collection for the group to sell in the shop The Foundry (/w/index.php?title=The_Foundry_(store)&action=edit&redlink=1) [2] (#cite_note-2) in Ganton Street (/wiki/Ganton_Street) where George O'Dowd (later widely known as Boy George (/wiki/Boy_George) ) worked as a window dresser (/wiki/Window_dresser) . Clowes created a cultural cocktail of offbeat imagery with religious undertones. [3] (#cite_note-3) Her idea portrayed in the Culture Club look was that wherever you are in the world, whatever your culture or religion "we are all part of one club called the human race". [ citation needed ] The Flesh and Steel collection [4] (#cite_note-4) of winter 1983 of printed silver crosses was worn by Jonny Slut of Specimen (/wiki/Specimen_(band)) . Susanne Bartsch (/wiki/Susanne_Bartsch) , an event producer provided early exposure for British (/wiki/British_people) designers with a series of shows in New York (/wiki/New_York_City) and then Tokyo (/wiki/Tokyo) . Clowes took part alongside other 1980s designers, including Leigh Bowery (/wiki/Leigh_Bowery) . [5] (#cite_note-5) Kylie Minogue (/wiki/Kylie_Minogue) wore a Sue Clowes vintage t-shirt for the Anti Tour (/wiki/Anti_Tour) . [6] (#cite_note-6) Collections [ edit ] Clowes moved into sync with the fashion industry's cycles and produced seven collections with print designs from 1982 until 1986. AW83 Flesh and Steel. Took part in New London in New York a Susanne Bartsch fashion runway show at The Roxy (New York) (/w/index.php?title=The_Roxy_(New_York)&action=edit&redlink=1) [Front Runners US Magazine January 1984. By Elizabeth Pearson Griffiths] The collection was worn by S.P.K industrial band. SS84 Flesh and Steel. A sportswear collection to celebrate the 1984 Summer Olympics (/wiki/1984_Summer_Olympics) , Los Angeles (/wiki/Los_Angeles) . [The Daily Telegraph, May 2 1984. Avril Groom. Clowes's sportswear collection was launched at a Susanne Bartsch fashion show at New York City's The Limelight (/wiki/The_Limelight) in November 1983. AW84 In the Arms of Morpheus. A post-Olympian pyjama collection reported on in Blitz (magazine) (/wiki/Blitz_(British_magazine)) . [Blitz Magazine, October No.25 by Iain R. Webb. SS85 Daisy, Daisy. Susanne Bartsch produced ‘London Goes to Tokyo’, sponsored by Shiseido (/wiki/Shiseido) . alongside other British 1980s designers including milliner Stephen Jones (/wiki/Stephen_Jones_(milliner)) and performance artist Leigh Bowery (/wiki/Leigh_Bowery) AW85 Gold Daisy Velvet and Red Devil. [Newsweek. London Goes Wild. April, 1985 Eloise Salholz]. Invited to show the collection alongside collections from Tommy Nutter, (/w/index.php?title=Tommy_Nutter,&action=edit&redlink=1) Jean Muir (/wiki/Jean_Muir) and Hardy Amies (/wiki/Hardy_Amies) in a charity event in the presence of Princess Anne (/wiki/Princess_Anne) SS86 Chameleons. Stefano Tonchi (/wiki/Stefano_Tonchi) invited Clowes to take part in the Pitti Trend catwalk show Florence (/wiki/Florence) Clowes was commissioned between 1985 and 1987 to design private collections with textile prints for Isetan (/wiki/Isetan) Tokyo (/wiki/Tokyo) department store, a pyjama collection for Samuel Courtauld (/wiki/Courtaulds) , and two design collections for the velvet brand Girmes GmbH/Niedieck (now Redaelli Velluti (/w/index.php?title=Redaelli_Velluti&action=edit&redlink=1) ) Research and development [ edit ] Clowes moved to Italy (/wiki/Italy) in 1987, and became involved in wearable technology (/wiki/Wearable_technology) or "smart clothing". Clowes worked in an academic team called Grado Zero Espace, with Italian engineers and scientists, to pioneer clothing that incorporated technology. These garments won awards from Time (/wiki/Time_(magazine)) [7] (#cite_note-7) and Popular Science (/wiki/Popular_Science) . [8] (#cite_note-8) She also worked on the project of shape-memory alloy (/wiki/Shape-memory_alloy) named Nitinol (/wiki/Nitinol) to obtain the first woven fabric (/wiki/Woven_fabric) . [9] (#cite_note-9) Clowes worked on the team that researched and developed a jacket padded with Aerogel (/wiki/Aerogel) . The jacket called Absolute Zero [10] (#cite_note-10) was taken on an Antarctic (/wiki/Antarctic) expedition. For Corpo Nove, Clowes researched Stinging Nettle (/wiki/Urtica_dioica) fibres (/wiki/Fiber) which were woven to produce jeans (/wiki/Jeans) . [11] (#cite_note-11) She gave a conference at the Eden Project (/wiki/Eden_Project) [12] (#cite_note-12) and at the European Textile Network Conference on "New Technologies and Materials". Journalism [ edit ] Clowes wrote articles for an Italian (/wiki/Italy) magazine called N9VE [13] (#cite_note-13) and interviewed Aliona Doletskaya (/wiki/Aliona_Doletskaya) (editor of the Russian (/wiki/Russia) Vogue (/wiki/Vogue_(magazine)) ), Sir James Dyson (/wiki/James_Dyson) ( vacuum cleaner (/wiki/Vacuum_cleaner) magnate), Steve Pyke (/wiki/Steve_Pyke) ( MBE (/wiki/Order_of_the_British_Empire) photographer), Dr. Pierre Brisson (head of European Space Agency (/wiki/European_Space_Agency) Technology Transfer), and Sir Timothy Smit (creator of the Eden Project, Cornwall (/wiki/Cornwall) , England (/wiki/England) ) among others. Recent work [ edit ] Clowes re-launched the Sue Clowes brand in 2012 with her daughter Marta Melani and collaborated on an edition of five pairs of sneakers (/wiki/Sneakers) for Italian cult shoe company Fornarina Srl. The sneakers along with their winter Night Sky Junkie collection was modelled by dancers on skates during Milan Menswear Fashion Week, 2014 at the Milan (/wiki/Milan) Alphabet nightclub. [1] (https://www.milanotoday.it/eventi/discoteche/alphabet-special-night-with-dena.html) In July 2013 the Victoria and Albert Museum (/wiki/Victoria_and_Albert_Museum) showcased looks from young designers of London Fashion in the 80s in an exhibition called Club to Catwalk. The museum requisitioned two of Clowes’outfits which are permanently held in their archives. The exhibition ran from July 2013 until February 2014. [2] (https://collections.vam.ac.uk/item/O1270129/culture-club-girl-ensemble-sue-clowes/) In 2019 Clowes collaborated with London-based John Moore Reimagined and four of her designs were printed onto shirts. Reported in the Financial Times in February 2019. [3] (https://www.ft.com/content/f9b7becc-f2fe-11e8-938a-543765795f99) April 2023 Clowes collaborated with Supreme New York American (/wiki/United_States) clothing and skateboarding (/wiki/Skateboarding) lifestyle brand to create a collection featuring Sue Clowes's original artwork from the early 1980s. The SS23 collection consists of a Jacket, Shirt, Ringer Tee, Chino Pant and cap. [4] (https://supreme.com/previews/springsummer2023/jackets/destruction-of-purity-harrington-jacket) December 12th, 2023. Kerry Taylor [5] (https://www.kerrytaylorauctions.com) the world's leading auction house specialising in vintage fashion, sold ensembles from Sue Clowes's personal 1980s collections in the “Passion for Fashion” auction. [6] (https://www.invaluable.com/inv/auctionnews/catalogue-now-live-passion-for-fashion) The Clowes outfits were exhibited alongside Elizabeth Taylor’s Christian Dior (/wiki/Christian_Dior) couture ‘Oscars' dress; a selection of original 1930s costumes designed by Erté (/wiki/Ert%C3%A9) , and garments by Chanel (/wiki/Chanel) and Vivienne Westwood (/wiki/Vivienne_Westwood) . One ensemble from Clowes’s 1984 Flesh & Steel collection, worn by Jonny Slut (/wiki/Jonny_Slut) of the 1980s goth glamour group, Specimen (/wiki/Specimen_(band)) sold for £10,000, a world record for Clowes. The outfit was acquired by ‘Museo de la Moda’, Santiago, Chile. [7] (https://museodelamoda.cl/en) The museum acquired many pieces in the auction to expand on a Sue Clowes collection they already had in their archives. January 2024. Clowes designed and screen printed a collection of images for Italian Fashion company Simon Cracker [8] (https://www.simoncrackermilano.com) A/W 2024. The garments were shown at a Fashion Show at ARCA, Milan on January 14th 2024. Simon Cracker (stylists Simone Botte and Filippo Biraghi) called their collection ‘La Nanna’ to capture the moment before sleep. Clowes printed surreal collages on upcycled (/w/index.php?title=Upcycled&action=edit&redlink=1) denim jackets and jeans that harmonized with the sleep theme. The show was reported in Corriere Della Sera (/wiki/Corriere_Della_Sera) [9] (https://www.corriere.it/moda/24_gennaio_14/milano-moda-uomo-prada-k-way-le-sfilate-calendario-oggi-f626d246-b236-11ee-9299-5cd622bffa26.shtml) The Independent Newspaper (/wiki/The_Independent_Newspaper) Sunday 14 January 2024 20:22 [10] (https://www.independent.co.uk/author/colleen-barry) External links [ edit ] Archive online gallery (http://www.theblitzkids.com/sueclowes/sueclowes.html) References [ edit ] ^ (#cite_ref-1) Gorman, Paul (2001). "The Look: Adventures in Rock and Pop Fashion", p.154. Sanctuary Publishing, London. ISBN (/wiki/ISBN_(identifier)) 0955201705 (/wiki/Special:BookSources/0955201705) ^ (#cite_ref-2) Cohen, Scott (1984). "Boy George", p. 68. Berkley Books (/wiki/Berkley_Books) , London. ISBN (/wiki/ISBN_(identifier)) 0425076393 (/wiki/Special:BookSources/0425076393) ^ (#cite_ref-3) Dean, Maury (2003). "Rock and Roll: Gold Rush", p. 388. Algora Publishing. ISBN (/wiki/ISBN_(identifier)) 0875862276 (/wiki/Special:BookSources/0875862276) ^ (#cite_ref-4) Follow Me Magazine, Dec/Jan 84 (n°8) Robyn Bowman, "Flesh and Steel", Melbourne p.28/29/30/31 ^ (#cite_ref-5) Tilley, Sue (2011). "Leigh Bowery: The Life and Times of an Icon", p. 20. Hodder & Stoughton, London. ISBN (/wiki/ISBN_(identifier)) 0340693118 (/wiki/Special:BookSources/0340693118) ^ (#cite_ref-6) https://web.archive.org/web/20120626012529/http://www.kylie.com/news/2012/04/anti-tour-uk (https://web.archive.org/web/20120626012529/http://www.kylie.com/news/2012/04/anti-tour-uk) ^ (#cite_ref-7) "Permanently Pressed," Time Magazine. Dec 3, 2001 p.16 ^ (#cite_ref-8) "Best of What's New," Popular Science, Dec 2001 ^ (#cite_ref-9) Paul Marks, "Sleeves up," New Scientist, July 28, 2001 p.24 ^ (#cite_ref-10) "The Next Big Thing," Fortune Magazine, June 4th 2003 ^ (#cite_ref-11) Kate Ravilious "Grasping the Nettle" (https://www.independent.co.uk/news/science/grasping-the-nettle-581740.html) , London Independent, October 1st 2003 ^ (#cite_ref-12) "Eden Project" N9ve Magazine Italia, July 2002, p.34/35/36/37/38 ^ (#cite_ref-13) Blanket Coverage" Wallpaper Magazine, April 2001, p.172 NewPP limit report Parsed by mw‐web.eqiad.main‐8645764cd7‐qfhjp Cached time: 20240713203742 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.164 seconds Real time usage: 0.249 seconds Preprocessor visited node count: 1454/1000000 Post‐expand include size: 6336/2097152 bytes Template argument size: 1550/2097152 bytes Highest expansion depth: 16/100 Expensive parser function count: 1/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 15727/5000000 bytes Lua time usage: 0.075/10.000 seconds Lua memory usage: 2554317/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 216.966 1 -total 32.91% 71.397 1 Template:Short_description 32.02% 69.476 1 Template:Reflist 24.09% 52.267 4 Template:ISBN 18.93% 41.070 4 Template:Catalog_lookup_link 17.01% 36.907 1 Template:Cn 16.80% 36.456 2 Template:Pagetype 15.31% 33.215 1 Template:Authority_control 14.15% 30.711 1 Template:Fix 9.67% 20.980 2 Template:Category_handler Saved in parser cache with key enwiki:pcache:idhash:37984769-0!canonical and timestamp 20240713203742 and revision id 1209337246. 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Main article: Drapers (/wiki/Drapers) NewPP limit report Parsed by mw‐web.eqiad.main‐bbb5c5448‐rv94j Cached time: 20240718085559 Cache expiry: 2592000 Reduced expiry: false Complications: [] CPU time usage: 0.032 seconds Real time usage: 0.073 seconds Preprocessor visited node count: 14/1000000 Post‐expand include size: 266/2097152 bytes Template argument size: 0/2097152 bytes Highest expansion depth: 3/100 Expensive parser function count: 1/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 326/5000000 bytes Lua time usage: 0.017/10.000 seconds Lua memory usage: 628172/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 60.766 1 Template:Main_article 100.00% 60.766 1 -total Saved in parser cache with key enwiki:pcache:idhash:61147017-0!canonical and timestamp 20240718085559 and revision id 1095099852. Rendering was triggered because: page-view Subcategories This category has the following 2 subcategories, out of 2 total. N New Zealand drapers (/wiki/Category:New_Zealand_drapers) ‎ (13 P) S Scottish drapers (/wiki/Category:Scottish_drapers) ‎ (13 P) Pages in category "Drapers" The following 21 pages are in this category, out of 21 total. This list may not reflect recent changes (/wiki/Wikipedia:FAQ/Categorization#Why_might_a_category_list_not_be_up_to_date?) . Draper (/wiki/Draper) B James Baines (draper) (/wiki/James_Baines_(draper)) C Malachi James Cahill (/wiki/Malachi_James_Cahill) Sir Thomas Cullum, 1st Baronet (/wiki/Sir_Thomas_Cullum,_1st_Baronet) D Drapers (magazine) (/wiki/Drapers_(magazine)) G Jack Grace (/wiki/Jack_Grace) James Pierrepont Greaves (/wiki/James_Pierrepont_Greaves) H J. J. Hinchion (/wiki/J._J._Hinchion) L Bert Lazzarini (/wiki/Bert_Lazzarini) M James McCombs (/wiki/James_McCombs) Samuel McGuffin (/wiki/Samuel_McGuffin) George Meares (/wiki/George_Meares) P Herbert Payne (/wiki/Herbert_Payne) James Aloysius Power (/wiki/James_Aloysius_Power) R Rudolph Ready (/wiki/Rudolph_Ready) S Francis Schnadhorst (/wiki/Francis_Schnadhorst) John Spicer (died c. 1428) (/wiki/John_Spicer_(died_c._1428)) W Robert Waithman (/wiki/Robert_Waithman) William Watson (merchant) (/wiki/William_Watson_(merchant)) John Wildegryse (/wiki/John_Wildegryse) Gordon Wilson (peace campaigner) (/wiki/Gordon_Wilson_(peace_campaigner)) esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Category:Drapers&oldid=1095099852 (https://en.wikipedia.org/w/index.php?title=Category:Drapers&oldid=1095099852) " Categories (/wiki/Help:Category) : Service occupations (/wiki/Category:Service_occupations) Sales occupations (/wiki/Category:Sales_occupations) Fashion occupations (/wiki/Category:Fashion_occupations)
South Korean artist and designer Me Love Me A Lot Born 1991 or 1992 (age 31–32) [1] (#cite_note-Jackson2018-1) Occupations Artist rapper fashion designer Years active 2014-present Baek Ye-jin , known as MLMA (acronym for Me Love Me A Lot ) is a pseudonymous South Korean (/wiki/South_Korea) -born artist, rapper, and fashion designer. She is known for surreal, sometimes grotesque imagery in a variety of artistic media. Career [ edit ] MLMA began her artistic career after quitting a design job with MIXXMIX in 2014. [2] (#cite_note-Ponzer2017-2) Her initial plans were to develop an independent line of socks, owing to a belief that most fashionable socks were either of poor quality or poor design. [2] (#cite_note-Ponzer2017-2) She began to distribute many of her artistic creations via Instagram (/wiki/Instagram) , often using simple art supplies sourced from dollar stores (/wiki/Dollar_store) . [3] (#cite_note-Kim2018-3) In 2017, MLMA went viral on Instagram after starting the "wavy brows" trend, a style imitated by Instagram influencers (/wiki/Influencer_marketing) and a Snapchat (/wiki/Snapchat) filter. [4] (#cite_note-Weinstock2018-4) In music, MLMA is known for songs which, "while rooted in hip-hop (/wiki/Hip-hop) , borrow heavily from K-pop (/wiki/K-pop) and electronic music (/wiki/Electronic_music) ." [5] (#cite_note-Michael2018-5) Her October 2018 single "Sweetie" was reviewed positively by Paper magazine (/wiki/Paper_(magazine)) as "brimming over with disaffected nonchalance ... in a laconic, half-rapped tone." [5] (#cite_note-Michael2018-5) In May 2020, MLMA released a new single, "You Can't Kill Me I'm Alive." [6] (#cite_note-Runnells2020-6) She has been described as being part of the SoundCloud rap (/wiki/SoundCloud_rap) movement. [6] (#cite_note-Runnells2020-6) MLMA is a lead designer at Korean streetwear (/wiki/Streetwear) label Skoot (sometimes stylized SKØØT ), of which she is also a co-founder. [3] (#cite_note-Kim2018-3) [7] (#cite_note-Allaire2020-7) Her involvement with Skoot began after attracting attention at a solo art show in Toronto (/wiki/Toronto) , Canada (/wiki/Canada) . [1] (#cite_note-Jackson2018-1) Many promotional images for the brand were taken from house parties, with the clothes modeled by MLMA's personal friends. [2] (#cite_note-Ponzer2017-2) Skoot's sometimes eccentric style features original artwork by MLMA along with heavily anime (/wiki/Anime) -inspired imagery, making reference to prominent franchises like Neon Genesis Evangelion (/wiki/Neon_Genesis_Evangelion) . [7] (#cite_note-Allaire2020-7) Billie Eilish (/wiki/Billie_Eilish) was an early supporter of the brand, wearing Skoot apparel in her music video (/wiki/Music_video) for the song " Therefore I Am (/wiki/Therefore_I_Am_(song)) " and also during her performance at the American Music Awards of 2020 (/wiki/American_Music_Awards_of_2020) . [7] (#cite_note-Allaire2020-7) Since then, artists and groups who have worn Skoot include Rico Nasty (/wiki/Rico_Nasty) , BTS (/wiki/BTS) , Rosalía (/wiki/Rosal%C3%ADa_(singer)) , Blackpink (/wiki/Blackpink) , Grimes (/wiki/Grimes_(musician)) , and Jackson Wang (/wiki/Jackson_Wang) . [7] (#cite_note-Allaire2020-7) MLMA has appeared at haute couture (/wiki/Haute_couture) events, often with an absurdist or whimsical style. She walked a show at Paris Fashion Week (/wiki/Paris_Fashion_Week) 2018 holding a replica of her own head. [8] (#cite_note-Goldfine2020-8) In 2020, MLMA was the public face of the "KFC Crocs" campaign, a promotional collaboration between KFC (/wiki/KFC) and Crocs (/wiki/Crocs) . MLMA appeared in a commercial promoting the shoes and personally modeled a platform version of the KFC Crocs at New York Fashion Week (/wiki/New_York_Fashion_Week) . [9] (#cite_note-Wida2020-9) The shoes were distributed to celebrities like Kim Kardashian (/wiki/Kim_Kardashian) before becoming available for sale to the general public. [10] (#cite_note-Zhang2020-10) Personal life [ edit ] MLMA was raised in a working-class neighborhood of Seoul (/wiki/Seoul) , South Korea (/wiki/South_Korea) . [8] (#cite_note-Goldfine2020-8) She spends about half her time in Canada (/wiki/Canada) , where she has family. [4] (#cite_note-Weinstock2018-4) In August 2020, MLMA posted several photographs of Post Malone (/wiki/Post_Malone) to her Instagram account, causing hip-hop news outlets to speculate about the possibility of a romantic attachment between the two. [11] (#cite_note-Dare2020-11) References [ edit ] ^ Jump up to: a b Jackson, Jhoni (March 29, 2018). "Meet MLMA: The Viral Korean Artist Using Instagram to Disrupt" (https://www.papermag.com/mlma-instagram-interview-2554279546.html) . Paper (/wiki/Paper_(magazine)) . Retrieved January 17, 2021 . ^ Jump up to: a b c Ponzer, Paula (March 4, 2017). "Members Only: A Chat With Skoot Apparel's MLMA" (https://www.mutzine.me/features/members-only-skoot-apparel-by-melovemealot) . mutzine . Retrieved January 17, 2021 . ^ Jump up to: a b Kim, Monica (February 27, 2018). "Meet the Risk-Taking Korean Artist Behind the Viral Wavy Brow" (https://www.vogue.com/vogueworld/article/mlma-melovemealot-korean-instagram-artist) . Vogue (/wiki/Vogue_(magazine)) . Retrieved January 17, 2021 . ^ Jump up to: a b Weinstock, Tish (May 16, 2018). "this instagram artist is using her body to distort our perceptions of beauty" (https://i-d.vice.com/en_us/article/kzk883/this-instagram-artist-is-using-her-body-to-distort-our-perceptions-of-beauty) . i-D (/wiki/I-D) . Vice Media (/wiki/Vice_Media) . Retrieved January 17, 2021 . ^ Jump up to: a b Michael, Michael Love (October 23, 2018). "MLMA Is Not Your 'Sweetie' (https://www.papermag.com/mlmas-sweetie-is-anything-but-sweet-2614619061.html) " (https://www.papermag.com/mlmas-sweetie-is-anything-but-sweet-2614619061.html) . Paper (/wiki/Paper_(magazine)) . Retrieved January 17, 2021 . ^ Jump up to: a b Runnells, Riley (May 22, 2020). "MLMA's New Single Is 'Crazy and Chaotic,' Just Like Her" (https://www.papermag.com/mlma-premiere-single-2646066789.html) . Paper (/wiki/Paper_(magazine)) . Retrieved January 17, 2021 . ^ Jump up to: a b c d Allaire, Christian (December 9, 2020). "Billie Eilish (And Other Stylish Artists) Love This Anime-Inspired Streetwear Brand" (https://www.vogue.com/article/skoot-streetwear-brand-billie-eilish-musicians) . Vogue (/wiki/Vogue_(magazine)) . Retrieved January 17, 2021 . ^ Jump up to: a b Goldfine, Jael (February 12, 2020). "MLMA Serves Up Cursed Fashion in Crispy Crocs" (https://www.papermag.com/mlma-crocs-kfc-collab-2645124936.html) . Paper (/wiki/Paper_(magazine)) . Retrieved January 17, 2021 . ^ (#cite_ref-Wida2020_9-0) Wida, Erica Chayes (July 27, 2020). "Crocs just released KFC clogs – and they actually smell like chicken" (https://www.today.com/food/crocs-just-released-kfc-clogs-they-actually-smell-chicken-t187865) . Today (/wiki/Today_(American_TV_program)) . Retrieved January 17, 2021 . ^ (#cite_ref-Zhang2020_10-0) Zhang, Jenny G. (July 23, 2020). "Feast Your Eyes on the Chicken-Scented KFC x Crocs Collaboration" (https://www.eater.com/2020/7/23/21335990/kfc-crocs-release-chicken-scented-shoe-collaboration) . Eater . Retrieved January 17, 2021 . ^ (#cite_ref-Dare2020_11-0) Dare, Angie (August 13, 2020). "Post Malone and Korean Rapper MLMA Have Pretty Much Confirmed They're Officially Dating" (https://www.sohh.com/post-malone-and-korean-rapper-mlma-have-pretty-much-confirmed-theyre-officially-dating-each-other/) . SOHH (/wiki/SOHH) . Retrieved January 17, 2021 . External links [ edit ] Instagram profile (https://www.instagram.com/melovemealot/) NewPP limit report Parsed by mw‐api‐ext.codfw.main‐557d6f8488‐qxh8g Cached time: 20240715081708 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.346 seconds Real time usage: 0.436 seconds Preprocessor visited node count: 2279/1000000 Post‐expand include size: 23018/2097152 bytes Template argument size: 1328/2097152 bytes Highest expansion depth: 15/100 Expensive parser function count: 2/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 47702/5000000 bytes Lua time usage: 0.214/10.000 seconds Lua memory usage: 6274998/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 409.473 1 -total 36.36% 148.874 1 Template:Infobox_person 36.35% 148.836 1 Template:Reflist 27.43% 112.299 8 Template:Cite_magazine 15.88% 65.038 1 Template:Short_description 14.69% 60.171 20 Template:Pluralize_from_text 9.75% 39.911 2 Template:Pagetype 9.22% 37.748 1 Template:Hlist 6.83% 27.958 17 Template:Main_other 4.57% 18.723 4 Template:Br_separated_entries Saved in parser cache with key enwiki:pcache:idhash:66419326-0!canonical and timestamp 20240715081708 and revision id 1192583097. 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German fashion designer Ameli Neureuther (born 15 June 1981 in Munich (/wiki/Munich) ) is a German fashion designer (/wiki/Fashion_designer) . Her creations are characterised by a mixture of historical and modern style elements as well as the interplay of fashion, illustration and art. [1] (#cite_note-webpräsenz-1) Family [ edit ] Neureuther was born in the Munich district of Pasing as the first of two children of the two former ski racers Rosi Mittermaier (/wiki/Rosi_Mittermaier) and Christian Neureuther (/w/index.php?title=Christian_Neureuther_(ski_racer)&action=edit&redlink=1) . Her brother is the former ski racer Felix Neureuther (/wiki/Felix_Neureuther) . Her great-great-grandfather was the painter Eugen Napoleon Neureuther (/wiki/Eugen_Napoleon_Neureuther) (1806–1882), after whom, along with his brother, the architect Gottfried von Neureuther (/w/index.php?title=Gottfried_von_Neureuther&action=edit&redlink=1) , the Neureutherstraße (/w/index.php?title=Liste_M%C3%BCnchner_Stra%C3%9Fennamen/N&action=edit&redlink=1) in Munich's Maxvorstadt district is named, her great-great-great-grandfather the painter Ludwig Neureuther (/w/index.php?title=Ludwig_Neureuther&action=edit&redlink=1) (1774–1832). Neureuther spent her childhood in Garmisch-Partenkirchen (/wiki/Garmisch-Partenkirchen) . Her son was born in February 2015. [2] (#cite_note-2) [3] (#cite_note-3) Education and career [ edit ] From 1999 to 2001, Neureuther studied at the Cambridge School of Arts (/w/index.php?title=Cambridge_School_of_Arts&action=edit&redlink=1) as part of an "Art Foundation Year". From 2001, she continued her training at the international fashion school Esmod (/wiki/Esmod) in Munich. [4] (#cite_note-4) At that time, she went public with her outfit "Mixed expression" alongside the 160 other students at the fashion school. [5] (#cite_note-5) For a long time, she worked in New York (/wiki/New_York_City) for the fashion label Marc Jacobs (/wiki/Marc_Jacobs) , and for six years she worked in Berlin (/wiki/Berlin) under Wolfgang Joop (/wiki/Wolfgang_Joop) as a designer for the fashion label Wunderkind (/w/index.php?title=Wunderkind_(company)&action=edit&redlink=1) . [1] (#cite_note-webpräsenz-1) For the Alpine Ski World Championships 2011 (/w/index.php?title=Alpine_Ski_World_Championships_2011&action=edit&redlink=1) in Garmisch-Partenkirchen, Neureuther designed the mascots Ga and Pa (/w/index.php?title=Alpine_Ski_World_Championships_2011&action=edit&redlink=1) , two figures in the shape of a snowball (/wiki/Snowball) . [6] (#cite_note-Zaib_2024_z812-6) In the meantime, she works as a freelance designer and illustrator. [1] (#cite_note-webpräsenz-1) Awards [ edit ] November 2002 at the St.Katrin Festival in Munich: Prize of honour for the most elaborate opera costume March 2004 at the China Fashion Week (/wiki/China_Fashion_Week) in Beijing: 1st prize (endowed with €10,000) for illustration at the Hempel Fashion Award , one of the world's largest competitions for young designers Exhibitions [ edit ] 2002: Garmisch-Partenkirchen References [ edit ] ^ Jump up to: a b c "Vita" (http://ameli-neureuther.com/about) . Auf: ameli-neureuther.com . Retrieved 2018-04-06 . ^ (#cite_ref-2) Nachwuchs: Felix Neureuther ist jetzt Onkel , Augsburger Allgemeine, 23. Februar 2015 ^ (#cite_ref-3) Archived (http://www.fnp.de/lokales/frankfurt/stadtgefluester/Rosi-Mittermaier-ist-mittendrin;art51666,2244587) (Date missing) at fnp.de (Error: unknown archive URL) , fnp.de, 30. September 2016 ^ (#cite_ref-4) "Neureuther, Ameli" (https://web.archive.org/web/20110912100452/http://www.antiquariat-benkert.de/Werdenfelser_Kunstlerlexikon_1/Text_7/text_7.html) . Künstlerlexikon des Werdenfelser Landes – Textauszug aus über 4900 Kurzbiographien . Antiquariat Benkert. Archived from the original (http://www.antiquariat-benkert.de/Werdenfelser_Kunstlerlexikon_1/Text_7/text_7.html) on 2011-09-12 . Retrieved 2013-09-03 . ^ (#cite_ref-5) "Leute von Welt" (http://web.archive.org/web/20190419063056/https://www.welt.de/print-welt/article489825/Leute-von-Welt.html) . Die Welt (/wiki/Die_Welt) . Die Welt (/wiki/Die_Welt) . 2001-01-18. Archived from the original (https://www.welt.de/print-welt/article489825/Leute-von-Welt.html) on 2019-04-19 . Retrieved 2010-07-16 . ^ (#cite_ref-Zaib_2024_z812_6-0) Zaib, Saba (February 15, 2024). "Ist Ameli Neureuther verheiratet" (https://heutewelt.com/ist-ameli-neureuther-verheiratet/) . Heute Welt (in German) . Retrieved March 16, 2024 . External links [ edit ] Web presence of Ameli Neureuther (http://ameli-neureuther.com/) Andi Hörmann: Kunst statt Wintersport: Die Designerin Ameli Neureuther im Porträt . Deutschlandfunk from 10 December 2012 Steffi Illinger: Ameli Neureuther und ihr Werdenfelser Land , programme "Bergheimat" on Bavarian Television from 7 December 2012, broadcast on 25 December 2012. 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Italian noblewoman, socialite, and art collector (1927–2019) Marella Agnelli Marella Agnelli in the 1950s Born Princess Marella Caracciolo di Castagneto ( 1927-05-04 ) 4 May 1927 Florence (/wiki/Florence) , Italy Died 23 February 2019 (2019-02-23) (aged 91) Turin (/wiki/Turin) , Italy Spouse Gianni Agnelli (/wiki/Gianni_Agnelli) (m. 1953; died 2003) Issue (/wiki/Issue_(genealogy)) Edoardo Agnelli (/wiki/Edoardo_Agnelli) Countess Margherita Agnelli de Pahlen (/wiki/Pahlen) House (/wiki/Dynasty) Caracciolo (/wiki/House_of_Caracciolo) Father Filippo Caracciolo (/wiki/Filippo_Caracciolo) , 8th Prince of Castagneto, 3rd Duke of Melito, Patrician of Naples Mother Margaret Clarke Occupation Art collector (/wiki/Art_collector) socialite (/wiki/Socialite) style icon writer (/wiki/Writer) landscape designer (/wiki/Landscape_designer) garden designer (/wiki/Garden_designer) photographer (/wiki/Photographer) Marella Agnelli ( Italian pronunciation: [maˈrɛlla (/wiki/Help:IPA/Italian) aɲˈɲɛlli] (/wiki/Help:IPA/Italian) ; born Donna Marella Caracciolo di Castagneto [ˈdɔnna (/wiki/Help:IPA/Italian) maˈrɛlla (/wiki/Help:IPA/Italian) kaˈrattʃolo (/wiki/Help:IPA/Italian) di (/wiki/Help:IPA/Italian) kastaɲˈɲeːto] (/wiki/Help:IPA/Italian) ; 4 May 1927 – 23 February 2019) was an Italian noblewoman (/wiki/Noblewoman) , art collector (/wiki/Art_collector) , socialite (/wiki/Socialite) , style icon, [1] (#cite_note-1) [2] (#cite_note-2) [3] (#cite_note-3) and wife of Fiat S.p.A. (/wiki/Fiat_S.p.A.) chairman Gianni Agnelli (/wiki/Gianni_Agnelli) . [4] (#cite_note-4) [5] (#cite_note-5) She often appeared in the fashion magazine Vogue (/wiki/Vogue_(magazine)) . [6] (#cite_note-6) She was named to the International Best Dressed Hall of Fame List (/wiki/International_Best_Dressed_Hall_of_Fame_List) in 1963. [7] (#cite_note-7) [8] (#cite_note-8) Background [ edit ] Donna (/wiki/Don_(honorific)) Marella Caracciolo di Castagneto (/wiki/Caracciolo_di_Castagneto) was born in Florence (/wiki/Florence) , [9] (#cite_note-9) Kingdom of Italy (/wiki/Kingdom_of_Italy) , as a member of the House of Caracciolo (/wiki/House_of_Caracciolo) of the high Italian nobility (/wiki/Italian_nobility) and aristocracy (/wiki/Aristocracy_(class)) . [10] (#cite_note-10) Her father was Don Filippo Caracciolo (/wiki/Filippo_Caracciolo) , 8th Prince (/wiki/Prince) of Castagneto, 3rd Duke (/wiki/Duke) of Melito, and hereditary Patrician (/wiki/Patrician_(post-Roman_Europe)) of Naples (1903–1965), from an old noble Neapolitan family dating back to the Kingdom of Naples (/wiki/Kingdom_of_Naples) ; he took part in the Italian resistance movement (/wiki/Italian_resistance_movement) , was the executive secretary of the National Liberation Committee (/wiki/National_Liberation_Committee) , an undersecretary (/wiki/Undersecretary_(Italy)) of the Italian Ministry of Foreign Affairs (/wiki/Italian_Ministry_of_Foreign_Affairs) in the Second Badoglio government (/wiki/Second_Badoglio_government) , [11] (#cite_note-11) helped overcome objections for the Italian Communist Party (/wiki/Italian_Communist_Party) to join the government, [12] (#cite_note-12) became secretary for the Action Party (/wiki/Action_Party_(Italy)) , and was general-secretary of the Council of Europe (/wiki/Council_of_Europe) . [13] (#cite_note-13) Agnelli's mother was Margaret Clarke (1898–1955), of Peoria, Illinois (/wiki/Peoria,_Illinois) , United States, and Rockford, Illinois (/wiki/Rockford,_Illinois) , [14] (#cite_note-14) the heiress of a well-known family of whiskey (/wiki/Whiskey) producers; [15] (#cite_note-15) she hung her mother's portraits in roomscapes of wicker furniture and sprigged cotton. [16] (#cite_note-16) She had two brothers: Don Carlo Caracciolo (/wiki/Carlo_Caracciolo) (1925–2008), who inherited their father's titles in 1965 and founded the Gruppo Editoriale L'Espresso (/wiki/Gruppo_Editoriale_L%27Espresso) and newspaper La Repubblica (/wiki/La_Repubblica) , [17] (#cite_note-17) and was known as "a prince among newspaper editors", [18] (#cite_note-18) or as "the editor prince", a reference to his aristocratic birth and elegant manner; [19] (#cite_note-19) and Don Nicola Caracciolo (/wiki/Nicola_Caracciolo) (1931–2020), the holder of both titles since 2008, as 10th Prince of Castagneto, 5th Duke of Melito, and hereditary Patrician of Naples. [20] (#cite_note-20) [21] (#cite_note-21) They grew up in Rome and Turkey, and spoke Italian, French, and English. [22] (#cite_note-22) Family [ edit ] She was married in Osthoffen (/wiki/Osthoffen) to Gianni Agnelli (/wiki/Gianni_Agnelli) , the Fiat tycoon who was widely referred to as "the uncrowned king of Italy", [23] (#cite_note-23) on 19 November 1953; they would remain married until his death on 24 January 2003. [24] (#cite_note-24) In their 50-year marriage, [25] (#cite_note-25) they had two children and eight grandchildren: [26] (#cite_note-26) [27] (#cite_note-27) Edoardo Agnelli (/wiki/Edoardo_Agnelli) (9 July 1954 – 15 November 2000) Countess Margherita Agnelli de Pahlen (born 26 October 1955); married first in 1975 (divorcing in 1981) to Alain Elkann (/wiki/Alain_Elkann) (born 23 March 1950) and second in 1991 to a Russian nobleman (/wiki/Russian_nobleman) , Count (/wiki/Count) Sergei de Pahlen (born in 1944) John Philip Jacob Elkann (/wiki/John_Philip_Jacob_Elkann) (born 1 April 1976), married on 4 September 2004 Italian noblewoman Donna Lavinia Ida Borromeo (/wiki/House_of_Borromeo) Arese Taverna (born 10 March 1977) Leone Mosé Elkann (born 27 August 2006) Oceano Noah Elkann (born 11 November 2007) Vita Talita Elkann (born 23 January 2012) Lapo Edovard Elkann (/wiki/Lapo_Edovard_Elkann) (born 7 October 1977), married on 7 October 2021 to Portuguese rally racer Joana Lemos (/wiki/Joana_Lemos) (born 24 April 1973) Ginevra Elkann (/wiki/Ginevra_Elkann) (born 24 September 1979), married on 25 April 2009 Italian aristocrat Don Giovanni Gaetani dell'Aquila d'Aragona (/wiki/Gaetani_dell%27Aquila_d%27Aragona) (born 2 May 1973) Don Giacomo Gaetani dell'Aquila d'Aragona (born 15 August 2009) Don Pietro Gaetani dell'Aquila d'Aragona (born 31 October 2012) Donna Marella Gaetani dell'Aquila d'Aragona (born 27 May 2014) Countess Maria de Pahlen (born in 1983) Count Pierre de Pahlen (born in 1986) Countess Sophie de Pahlen (born in 1988) Countess Anna de Pahlen (born in 1988) Countess Tatiana de Pahlen (born in 1990) Into the 2020s, the de Pahlens remain involved in a dispute with the Elkanns over Agnelli's inheritance. [28] (#cite_note-28) [29] (#cite_note-29) Career [ edit ] Marella and Gianni Agnelli in 1966 After Agnelli obtained her diploma in Switzerland, [30] (#cite_note-30) she was educated in Paris, where she attended the Académie des Beaux-Arts (/wiki/Acad%C3%A9mie_des_Beaux-Arts) and then the Académie Julian (/wiki/Acad%C3%A9mie_Julian) in Paris. [31] (#cite_note-31) As part of her varied career, which included photography, [32] (#cite_note-32) design, and art collection, [33] (#cite_note-33) as well as a modeling career, [34] (#cite_note-34) Agnelli began her photography career as an assistant to Erwin Blumenfeld (/wiki/Erwin_Blumenfeld) in New York City (/wiki/New_York_City) , [35] (#cite_note-35) [36] (#cite_note-36) where she lived on Park Avenue (/wiki/Park_Avenue) on the Upper East Side (/wiki/Upper_East_Side) . [37] (#cite_note-37) When she returned to Italy, Agnelli was also an occasional editor and photographic contributor to Vogue (/wiki/Vogue_(magazine)) and Condé Nast (/wiki/Cond%C3%A9_Nast) , among other magazines. [38] (#cite_note-38) In 1973, she created a textile line for Abraham-Zumsteg, for which she was awarded the Resources Council's Roscoe (the design trade's equivalent of the Oscar) in 1977. [39] (#cite_note-39) [40] (#cite_note-40) [41] (#cite_note-41) This was followed by work for the Ratti in Como, Steiner factories in France, and for Martex and numerous others for Marshall Field's (/wiki/Marshall_Field%27s) in the United States. [42] (#cite_note-42) She specialized in furnishing fabrics. [43] (#cite_note-43) An avid gardener, [44] (#cite_note-44) [45] (#cite_note-45) Agnelli authored a number of books on the subject, [46] (#cite_note-46) also providing many of the photographs. [47] (#cite_note-47) Two of her books are about the Agnelli Gardens at Villar Perosa (/wiki/Villar_Perosa) , such as The Agnelli Gardens at Villar Perosa: Two Centuries of a Family Retreat (1998), and the Garden of Ninfa (/wiki/Garden_of_Ninfa) , such as Il giardino di Ninfa (1999). [48] (#cite_note-48) Into the 21st century, she oversaw the opening of the Renzo Piano (/wiki/Renzo_Piano) -designed art gallery Pinacoteca Giovanni e Marella Agnelli (/wiki/Pinacoteca_Giovanni_e_Marella_Agnelli) , built on the roof of the former Lingotto (/wiki/Lingotto) Fiat factory in Turin (/wiki/Turin) . [49] (#cite_note-49) The Agnelli collection includes Picasso (/wiki/Picasso) , Renoir (/wiki/Renoir) , Canaletto (/wiki/Canaletto) , Matisse (/wiki/Matisse) , and Canova (/wiki/Canova) masterpieces, and opened in 2002. [50] (#cite_note-50) [51] (#cite_note-51) The gallery also puts on temporary modern art exhibitions. [52] (#cite_note-52) [53] (#cite_note-53) She commissioned art from the likes of Andy Warhol (/wiki/Andy_Warhol) and Richard Avedon (/wiki/Richard_Avedon) . [54] (#cite_note-54) In 1970, Agnelli founded the National Commission of United World Colleges. She was a member of the International Board of Trustees of the Salk Institute for Biological Studies (/wiki/Salk_Institute_for_Biological_Studies) in San Diego, California, and of the International Council of the Museum of Modern Art (/wiki/Museum_of_Modern_Art) in New York. Among others, she was also vice-president of the Council of Palazzo Grassi (/wiki/Palazzo_Grassi) in Venice, as well as president of I 200 del Fai in Milan and of the Association of Turin Friends of Contemporary Art in Turin. [55] (#cite_note-55) [56] (#cite_note-56) The Swans [ edit ] The reserved, patrician tastemaker, and socialite Agnelli was known for her inclusion in Truman Capote (/wiki/Truman_Capote) 's the Swans, a circle of wealthy, stylish, and well-married women friends whose company he adored because, in his words, they "had created themselves, as he had done", and "had stories to tell". [57] (#cite_note-57) According to Capote, Agnelli was "the European swan numero uno", one of the youngest in a group that included Babe Paley (/wiki/Babe_Paley) , Gloria Guinness (/wiki/Gloria_Guinness) , C. Z. Guest (/wiki/C._Z._Guest) , Slim Keith (/wiki/Slim_Keith) , Pamela Harriman (/wiki/Pamela_Harriman) , Lee Radziwill (/wiki/Lee_Radziwill) , and Jacqueline Kennedy Onassis (/wiki/Jacqueline_Kennedy_Onassis) . In her autobiography, Washington Post (/wiki/Washington_Post) publisher and Capote friend Katharine Graham (/wiki/Katharine_Graham) recounted that the author once told her that if Paley and Agnelli were "both in Tiffany's (/wiki/Tiffany%27s) window, Marella would be more expensive." [58] (#cite_note-58) Agnelli herself was nicknamed the Swan by Richard Avedon (/wiki/Richard_Avedon) for a 1949 photograph that appeared on Vogue ; [59] (#cite_note-59) Agnelli was among the notable photos Avedon took. [60] (#cite_note-60) Her other nickname, the Last Swan, was coined by Capote. [61] (#cite_note-61) Death [ edit ] After a long illness, [62] (#cite_note-62) Agnelli died at the age of 91 on 23 February 2019 at her home in Turin; [63] (#cite_note-63) [64] (#cite_note-64) [65] (#cite_note-65) the announcement was made by her family. [66] (#cite_note-66) Days prior to her death, Agnelli's health deteriored, [67] (#cite_note-67) and the cause of death was ruled to be from complications of Parkinson's disease (/wiki/Parkinson%27s_disease) ; she had been in a condition of invalidity (/wiki/Invalidity) for several years, and in her last months she was artificially fed. [68] (#cite_note-68) The funeral was held in a strictly private form on 25 February 2019 in the church of San Pietro in Vincoli at Villar Perosa (/wiki/Villar_Perosa) . At the end of the ritual, her body was buried in the family chapel in the city cemetery. [69] (#cite_note-69) [70] (#cite_note-70) Among others, she was mourned by association football (/wiki/Association_football) club Juventus (/wiki/Juventus) , which is owned by the Agnelli family (/wiki/Agnelli_family) . [71] (#cite_note-71) Popular culture [ edit ] Agnelli was portrayed in the American biographical film Infamous (/wiki/Infamous_(2006_film)) (2006) by Isabella Rossellini (/wiki/Isabella_Rossellini) . [72] (#cite_note-72) Books [ edit ] Agnelli, Marella; Bright, Robert Emmett; Forquet, Federico; Pietromarchi, Luca (24 September 1987). Gardens of the Italian Villas . New York: Rizzoli USA. ISBN (/wiki/ISBN_(identifier)) 978-0-8478-0825-0 . Agnelli, Marella; Caracciolo, Marella; Pietromarchi, Giuppi (1997). Ninfa ieri e oggi (in Italian). Turin: Allemandi. ISBN (/wiki/ISBN_(identifier)) 88-422-0718-7 . Agnelli, Marella (30 September 1998). Giardino segreto (in Italian). Milano: Rizzoli. ISBN (/wiki/ISBN_(identifier)) 88-17-67997-6 . Agnelli, Marella; Caracciolo, Marella; Pejrone, Paolo (15 October 1998). The Agnelli Gardens at Villar Perosa: Two Centuries of a Family Retreat . New York: Harry Abrams. ISBN (/wiki/ISBN_(identifier)) 978-0-8109-1979-2 . Agnelli, Marella (2000). Il giardino di Ninfa (in Italian). Turin: Allemandi. ISBN (/wiki/ISBN_(identifier)) 88-422-0542-7 . Agnelli, Marella; Caracciolo Chia, Marella (14 October 2014). Marella Agnelli: The Last Swan . New York: Rizzoli USA. ISBN (/wiki/ISBN_(identifier)) 978-0-8478-4321-3 . Agnelli, Marella; Caracciolo Chia, Marella (15 October 2014). Ho coltivato il mio giardino (in Italian). Milan: Piccola Biblioteca Adelphi. ISBN (/wiki/ISBN_(identifier)) 978-8-8459-2943-4 . Agnelli, Marella (2015). La Signora Gocà (in Italian). Milano: Piccola Biblioteca Adelphi. ISBN (/wiki/ISBN_(identifier)) 978-8-8459-3040-9 . Honours [ edit ] Grand Officer Order of Merit of the Italian Republic (/wiki/Order_of_Merit_of_the_Italian_Republic) , the third-highest civil honour in Italy, it was awarded by then president Carlo Azeglio Ciampi (/wiki/Carlo_Azeglio_Ciampi) on 13 September 2000. [73] (#cite_note-73) Ancestry [ edit ] Ancestors of Marella Agnelli 16. Nicola Caracciolo (/wiki/House_of_Caracciolo) , 4th Prince of Castagneto 8. Filippo Caracciolo (/wiki/House_of_Caracciolo) , 1st Duke of Melito 17. Donna Emanuela Caracciolo (/wiki/House_of_Caracciolo) dei Marchesi di Sant'Eramo 4. Nicola Caracciolo (/wiki/House_of_Caracciolo) , 2nd Duke of Melito 18. Gennaro Compagna, Baron Compagna 9. Emilia Compagna 19. Giulia dei Baroni Pandola 2. Filippo Caracciolo (/wiki/Filippo_Caracciolo) , 8th Prince of Castagneto, 3rd Duke of Melito 20. Francesco Mele Barese 10. Ippolito Mele Barese 21. Antoinette de Salles 5. Meralda Mele Barese 22. Winthrop Mackworth-Praed 11. Elizabeth Lilian Mackworth-Praed 23. Helen Bogle 1. Marella Caracciolo di Castagneto 12. Charles S. Clarke 6. Charles Corning Clarke 26. Elias Clippenger Randall 13. Melissa Mindwell Randall 27. Mindwell Corning 3. Margaret Clarke 28. Charles Chandler 14. Charles Emmet Chandler 29. Mary Carol Rickard 7. Alice Chandler 30. Alfred Beard 15. Cordelia Beard 31. Aurelia Crom References [ edit ] ^ (#cite_ref-1) "È morta Marella Agnelli la principessa che ha 'indossato' la Storia d'Italia" (https://www.marieclaire.it/attualita/gossip/a19041964/marella-agnelli-morte-biografia/) . Marie Claire (in Italian). 23 February 2019 . Retrieved 16 February 2023 . ^ (#cite_ref-2) "Marella Agnelli, Italian symbol of elegance and beauty, dies at 91" (https://www.washingtonpost.com/local/obituaries/marella-agnelli-italian-symbol-of-elegance-and-beauty-dies-at-91/2019/02/24/7ff68d08-38a3-11e9-a06c-3ec8ed509d15_story.html) . The Washington Post . 24 February 2019. ISSN (/wiki/ISSN_(identifier)) 2641-9599 (https://www.worldcat.org/issn/2641-9599) . Retrieved 18 February 2023 . ^ (#cite_ref-3) Balzarotti, Leda (23 February 2019). "Marella Agnelli e il suo stile" (https://www.iodonna.it/personaggi/star-italiane/gallery/marella-agnelli-e-il-suo-stile/) . Io Donna (in Italian) . Retrieved 16 February 2023 . ^ (#cite_ref-4) Bachrach, Judy (22 March 2011). "La Vita Agnelli" (https://www.vanityfair.com/news/2003/05/gianni-agnelli-200305) . Vanity Fair . Retrieved 16 February 2023 . ^ (#cite_ref-5) "Marella Agnelli obituary" (https://www.thetimes.co.uk/article/marella-agnelli-obituary-cv2hx2h5f) . The Times . 26 February 2019. ISSN (/wiki/ISSN_(identifier)) 0140-0460 (https://www.worldcat.org/issn/0140-0460) . Retrieved 16 February 2023 . ^ (#cite_ref-6) Bonelli, Valentina (23 February 2019). "Addio a Marella Agnelli" (https://www.vogue.it/magazine/v50/marella-agnelli-by-valentina-bonelli) . Vogue Italia (in Italian) . Retrieved 16 February 2023 . ^ (#cite_ref-7) "World's Best Dressed Women" (https://web.archive.org/web/20130712215415/http://www.vanityfair.com/style/the-international-best-dressed-list/hall-of-fame-women) . The International Hall of Fame: Women . 1963. Archived from the original (http://www.vanityfair.com/culture/bestdressed/bestdressed_women?currentPage=1) on 12 July 2013 . Retrieved 16 February 2023 . ^ (#cite_ref-8) Zilkha, Bettina (2004). Ultimate Style – The Best of the Best Dressed List . New York: Assoluine Publishing. pp. 70–73, 89. ISBN (/wiki/ISBN_(identifier)) 978-2-8432-3513-9 . ^ (#cite_ref-9) "Torino: morta Marella Agnelli, vedova dell'avvocato. Aveva 91 anni, era nata a Firenze" (https://www.firenzepost.it/2019/02/23/torino-morta-marella-agnelli-la-moglie-dellavvocato-aveva-92-anni/) . Firenze Post (in Italian). 23 February 2019 . Retrieved 16 February 2023 . ^ (#cite_ref-10) "Morta Marella Agnelli, la moglie di Gianni" (https://www.corriere.it/economia/19_febbraio_23/marella-agnelli-morta-moglie-giovanni-agnelli-1ad1ec22-3742-11e9-8878-6501931868b1.shtml) . Corriere della Sera (in Italian). 19 February 2019 . Retrieved 16 February 2023 . ^ (#cite_ref-11) Carnino, Andrea (25 February 2019). "Addio a Marella Agnelli" (https://www.crocereale.it/addio-a-marella-agnelli/) . Croce Reale (in Italian) . Retrieved 16 February 2023 . ^ (#cite_ref-12) Santarelli, Enzo (1999). Mezzogiorno, 1943–1944: uno sbandato nel regno del Sud . Milan: Feltrinelli. p. 79 (https://books.google.com/books?id=iJ6howVHE0YC&pg=PT79) . ISBN (/wiki/ISBN_(identifier)) 978-88-07-81528-7 . Retrieved 16 February 2023 – via Google Books. ^ (#cite_ref-13) Scali, Antonio (23 February 2019). "Marella Agnelli: chi era la vedova dell'Avvocato scomparsa a 92 anni" (https://www.tpi.it/news/marella-agnelli-chi-e-20190223259938/) . The Post Internazionale (in Italian) . Retrieved 16 February 2023 . ^ (#cite_ref-14) Turani, Giuseppe (25 January 2003). "L'Avvocato" (https://www.repubblica.it/online/lf_primo_piano/030124avvocato/avvocato/avvocato.html) . La Repubblica (in Italian) . Retrieved 16 February 2023 . ^ (#cite_ref-15) Marsala, Helga (23 February 2019). "Donna Marella Agnelli, l'ultimo cigno. Addio a una regina di stile" (https://www.artribune.com/dal-mondo/2019/02/donna-marella-agnelli-lultimo-cigno-addio-a-una-regina-di-stile/) . Artribune (in Italian) . Retrieved 16 February 2023 . ^ (#cite_ref-16) Bowles, Hamish (22 January 2018). "A Home In Tuscany Undergoes A Magnificent Makeover" (https://www.architecturaldigest.com/story/a-home-in-tuscany-undergoes-a-magnificent-makeover) . Architectural Digest . Retrieved 16 February 2023 . ^ (#cite_ref-17) Povoledo, Elisabetta (17 December 2008). "C. Caracciolo, 83, a Publisher and La Repubblica Founder, Is Dead" (https://www.nytimes.com/2008/12/17/world/europe/17caracciolo.html) . The New York Times . ISSN (/wiki/ISSN_(identifier)) 0362-4331 (https://www.worldcat.org/issn/0362-4331) . Retrieved 16 February 2023 . ^ (#cite_ref-18) "Carlo Caracciolo: newspaper publisher who set up La Repubblica" (https://www.thetimes.co.uk/article/carlo-caracciolo-newspaper-publisher-who-set-up-la-repubblica-m0wzcsbcczl) . The Times . 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"Addio a Marella Agnelli: la figlia Margherita e i nipoti Lapo, John e Ginevra per l'ultimo saluto" (https://www.torinotoday.it/cronaca/funerali-marella-agnelli-25-febbraio.html) . Torino Today (in Italian) . Retrieved 16 February 2023 . ^ (#cite_ref-71) "È morta Marella Agnelli, la vedova dell'Avvocato. Aveva 92 anni ed è mancata nella sua casa di Torino. La Juve: 'Giorno triste, condoglianze a tutta la famiglia' (https://www.tuttosport.com/news/calcio/serie-a/juventus/2019/02/23-53736232/morta_marella_agnelli_la_vedova_dellavvocato) " (https://www.tuttosport.com/news/calcio/serie-a/juventus/2019/02/23-53736232/morta_marella_agnelli_la_vedova_dellavvocato) . Tuttosport (in Italian). 23 February 2019 . Retrieved 16 February 2023 . ^ (#cite_ref-72) "Infamous – Una pessima reputazione" (https://www.mymovies.it/film/2006/infamousunapessimareputazione/) . MyMovies.it (in Italian). Gruppo Editoriale L'Espresso. 2006 . Retrieved 16 February 2023 . ^ (#cite_ref-73) "Morta Marella Agnelli, moglie Avvocato" (https://www.ansa.it/piemonte/notizie/2019/02/23/morta-marella-agnelli-moglie-avvocato_33cb1426-56cc-4c44-91b3-5cf7561c03ac.html) (in Italian). ANSA. 23 February 2019 . Retrieved 16 February 2023 . Further reading [ edit ] Ferrante, Marco (2007). Casa Agnelli. Storie e personaggi dell'ultima dinastia italiana (in Italian). Milan: Mondadori. ISBN (/wiki/ISBN_(identifier)) 978-88-04-56673-1 . Retrieved 17 February 2023 – via Google Books. Friedman, Alan (1988). Agnelli and the Network of Italian Power . London: Mandarin Paperback (Octopus Publishing Group). ISBN (/wiki/ISBN_(identifier)) 0-7493-0093-0 . Retrieved 17 February 2023 – via Google Books. Moncalvo, Gigi (6 August 2016). I Caracciolo: Storie, misteri e figli segreti di una grande dinastia italiana (in Italian) (paperback ed.). Rome: Giemme Communication. ISBN (/wiki/ISBN_(identifier)) 978-1-5369-4077-0 . Retrieved 17 February 2023 – via Google Books. External links [ edit ] Wikimedia Commons has media related to Marella Caracciolo . Marella Agnelli (https://www.goodreads.com/author/show/291217.Marella_Agnelli) at Goodreads (/wiki/Goodreads) (in English) Marella Agnelli (http://www.elegancepedia.com/marella-agnelli.html) at Elegancepedia (in English and Italian) Marella Agnelli portrait by Andy Warhol (https://web.archive.org/web/20070929031411/http://www.jablonkagalerie.com/images/artists/warhol/WAR155_00P.jpg) at Jablonka Galerie Maralla Agnelli (https://web.archive.org/web/20060117042202/http://www.style.com/beauty/icon/011106) at Style.com (in English) Pinacoteca Agnelli (https://web.archive.org/web/20070928001202/http://www.pinacoteca-agnelli.it/home_ita.php) (in Italian) Quilling – Devotional Creations from Cloistered Orders (https://www.pinacoteca-agnelli.it/en/exhibitions/quilling-devotional-creations-from-cloistered-orders/) at Pinacoteca Agnelli (in English) Authority control databases (/wiki/Help:Authority_control) International FAST (http://id.worldcat.org/fast/192558/) ISNI (https://isni.org/isni/0000000081535269) VIAF (https://viaf.org/viaf/73884254) WorldCat (https://id.oclc.org/worldcat/entity/E39PCjFmrK4qgYdDckcYC86PHC) National Norway (https://authority.bibsys.no/authority/rest/authorities/html/90382159) France (https://catalogue.bnf.fr/ark:/12148/cb12110089d) BnF data (https://data.bnf.fr/ark:/12148/cb12110089d) Germany (https://d-nb.info/gnd/1083015117) Italy (https://opac.sbn.it/nome/CFIV038467) Israel (http://olduli.nli.org.il/F/?func=find-b&local_base=NLX10&find_code=UID&request=987007367219005171) United States (https://id.loc.gov/authorities/n86124767) Netherlands (http://data.bibliotheken.nl/id/thes/p074660063) Poland (https://dbn.bn.org.pl/descriptor-details/9810807225805606) Vatican (https://wikidata-externalid-url.toolforge.org/?p=8034&url_prefix=https://opac.vatlib.it/auth/detail/&id=495/351161) Academics CiNii (https://ci.nii.ac.jp/author/DA02046181?l=en) Other IdRef (https://www.idref.fr/029482984) NewPP limit report Parsed by mw‐web.codfw.main‐ff98d5cb5‐pmjds Cached time: 20240722163930 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 1.038 seconds Real time usage: 1.220 seconds Preprocessor visited node count: 5368/1000000 Post‐expand include size: 198566/2097152 bytes Template argument size: 2790/2097152 bytes Highest expansion depth: 18/100 Expensive parser function count: 19/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 308922/5000000 bytes Lua time usage: 0.715/10.000 seconds Lua memory usage: 14492959/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 1100.693 1 -total 34.54% 380.172 1 Template:Reflist 15.47% 170.324 17 Template:Cite_book 14.46% 159.169 36 Template:Cite_news 13.29% 146.336 1 Template:Infobox_royalty 12.07% 132.823 2 Template:IPA-it 12.05% 132.660 1 Template:Infobox 11.91% 131.137 2 Template:IPA 8.77% 96.506 1 Template:Authority_control 8.14% 89.619 21 Template:Cite_web Saved in parser cache with key enwiki:pcache:idhash:9410959-0!canonical and timestamp 20240722163930 and revision id 1220099217. 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Danish fashion model (born c. 1997) Frederikke Sofie Falbe-Hansen Born circa ( 1997-02-15 ) February 15, 1997 (age 27) [2] (#cite_note-2) Copenhagen (/wiki/Copenhagen) , Denmark Nationality Danish (/wiki/Danes) Occupation Fashion model (/wiki/Fashion_model) Years active 2014–present Modeling information Height 1.76 m (5 ft 9 + 1 ⁄ 2 in) Hair color Blonde Eye color Blue Agency Oui Management (Paris) DNA Model Management (New York) The Fabbrica (Milan) Select Model Management (/wiki/Select_Model_Management) (London) 2pm Model Management (Copenhagen) [1] (#cite_note-1) Frederikke Sofie Falbe-Hansen is a Danish fashion model. She has notably starred in campaigns for Céline (/wiki/C%C3%A9line) , Chloé (/wiki/Chlo%C3%A9) , Ralph Lauren (/wiki/Ralph_Lauren) , and H&M (/wiki/H%26M) . [3] (#cite_note-3) Her beauty has been compared to the Greek goddess Aphrodite (/wiki/Aphrodite) and she is known for her fashionable "geeky" eyeglasses. [4] (#cite_note-4) [5] (#cite_note-5) [6] (#cite_note-6) In 2016, she was a nominee for Models.com Model of the Year Award's Breakout Star of the Year and was runner-up for Street Style Star of the Year. [7] (#cite_note-7) Career [ edit ] Frederikke Sofie was scouted at a concert in Copenhagen, Denmark and became a model in order to travel the world and make money. [8] (#cite_note-8) Her first fashion shows were walking for Paul Smith (/wiki/Paul_Smith_(fashion_designer)) , David Koma (/wiki/David_Koma) , Christopher Kane (/wiki/Christopher_Kane) , and Peter Pilotto. She has also walked in fashion shows for Céline, Altuzarra (/wiki/Altuzarra) , Jason Wu (/wiki/Jason_Wu) , Thakoon (/wiki/Thakoon) , Fenty (/wiki/Rihanna) x Puma (/wiki/Puma_(brand)) , DKNY (/wiki/DKNY) , Marchesa (/wiki/Marchesa) , Narciso Rodriguez (/wiki/Narciso_Rodriguez) , Tommy Hilfiger (/wiki/Tommy_Hilfiger) , Stella McCartney (/wiki/Stella_McCartney) , Jill Stuart (/wiki/Jill_Stuart) , Chanel (/wiki/Chanel) , Kenzo (/wiki/Kenzo) , Sonia Rykiel (/wiki/Sonia_Rykiel) , Mugler (/wiki/Mugler) , Isabel Marant (/wiki/Isabel_Marant) , Lanvin (/wiki/Lanvin_(company)) , Giambattista Valli (/wiki/Giambattista_Valli) , Missoni (/wiki/Missoni) , Dolce and Gabbana (/wiki/Dolce_and_Gabbana) , Etro (/wiki/Etro) , Bottega Veneta (/wiki/Bottega_Veneta) , Fendi (/wiki/Fendi) , Michael Kors (/wiki/Michael_Kors) , Vera Wang (/wiki/Vera_Wang) and Carolina Herrera (/wiki/Carolina_Herrera_(fashion_designer)) . [9] (#cite_note-9) [10] (#cite_note-auto-10) [11] (#cite_note-11) [12] (#cite_note-12) [13] (#cite_note-13) [14] (#cite_note-14) [15] (#cite_note-15) [16] (#cite_note-16) [17] (#cite_note-17) [18] (#cite_note-18) [19] (#cite_note-19) In magazines she has appeared in American Vogue (/wiki/Vogue_(magazine)) , Vogue Italia (/wiki/Vogue_Italia) , Vogue China (/wiki/Vogue_China) , Vogue Germany, Vogue Paris (/wiki/Vogue_Paris) , British Vogue (/wiki/British_Vogue) , i-D Magazine (/wiki/I-D_Magazine) , W Magazine (/wiki/W_Magazine) , L'Officiel (/wiki/L%27Officiel) , WSJ (/wiki/WSJ) , and CR Fashion Book (/wiki/CR_Fashion_Book) . [20] (#cite_note-20) [10] (#cite_note-auto-10) [21] (#cite_note-21) [22] (#cite_note-22) [23] (#cite_note-23) [24] (#cite_note-24) [25] (#cite_note-25) Image and style [ edit ] In the fashion world, Frederikke Sofie is well known for her wavy blonde hair and her street style which has been celebrated by magazines like Vogue (/wiki/Vogue_(magazine)) , Vogue Paris (/wiki/Vogue_Paris) , W (/wiki/W_(magazine)) , and Women's Wear Daily (/wiki/Women%27s_Wear_Daily) . [26] (#cite_note-26) [27] (#cite_note-27) References [ edit ] ^ (#cite_ref-1) "Frederikke Sofie - Model" (https://models.com/models/Frederikke-Falbe) . MODELS.com . ^ (#cite_ref-2) Garced, Kristi (15 April 2016). "Following Model Frederikke Sofie Through NYFW" (https://wwd.com/fashion-news/fashion-features/frederikke-sofie-nyfw-kacey-jeffers-10409674/) . ^ (#cite_ref-3) "MODELS.com's Top 50 Models" (https://models.com/rankings/ui/Top50-topcampaigns-18581) . MODELS.com . ^ (#cite_ref-4) "How to Wear Geek-Chic Glasses Like a Céline Model" (https://www.vogue.com/article/celine-glasses-frederikke-sofie) . Vogue . ^ (#cite_ref-5) Valenti, Lauren (30 October 2015). "15 Instagram Stars Every Curly Girl Should Follow" (https://www.marieclaire.com/beauty/news/g3271/curly-girls-of-instagram/) . Marie Claire . ^ (#cite_ref-6) "Frederikke Sofie: Meet The New Model Of The Moment" (https://graziadaily.co.uk/fashion/how-to/frederikke-sofie-model/) . Grazia . 28 July 2016. ^ (#cite_ref-7) "Model of the Year Awards 2016 - models.com MDX" (https://models.com/mdx/model-of-the-year-2016/) . MODELS.com . ^ (#cite_ref-8) "10 things you need to know about frederikke sofie" (https://i-d.vice.com/en_uk/article/zmxke4/10-things-you-need-to-know-about-frederikke-sofie) . i-D. 8 February 2016. ^ (#cite_ref-9) FashionModelDirectory.com, The FMD-. "Photo feat. Frederikke Sofie Falbe-Hansen - Paul Smith - Spring/Summer 2015 Ready-to-Wear - london - Fashion Show - Brands - The FMD" (https://www.fashionmodeldirectory.com/brands/paul-smith/shows/2015/spring-summer/8098/frederikke-sofie-falbehansen-167488/) . The FMD - FashionModelDirectory.com . {{ cite web (/wiki/Template:Cite_web) }} : \|last= has generic name ( help (/wiki/Help:CS1_errors#generic_name) ) ^ a b FashionModelDirectory.com, The FMD-. "Frederikke Sofie Falbe-Hansen - Fashion Model - Models - Photos, Editorials & Latest News - The FMD" (https://www.fashionmodeldirectory.com/models/frederikke+sofie_falbe-hansen/) . The FMD - FashionModelDirectory.com . {{ cite web (/wiki/Template:Cite_web) }} : \|last= has generic name ( help (/wiki/Help:CS1_errors#generic_name) ) ^ (#cite_ref-11) "Danske Frederikke Sofie er Célines nye kampagnemodel" (https://www.elle.dk/mode/nyheder/danske-frederikke-sofie-er-celines-nye-kampagnemodel) . ELLE . 12 May 2016. ^ (#cite_ref-12) "Model-Morphosis: Frederikke Sofie at Vera Wang" (https://www.nytimes.com/interactive/2015/09/15/t-magazine/15tmag-morph-vera-wang.html?_r=0) . New York Times . ^ (#cite_ref-13) "Jason Wu Knows Why Everything Looks Better in Lipstick Red" (https://www.vogue.com/article/new-york-fashion-week-fall-2017-ready-to-wear-jason-wu-beauty-trends-red-lipstick) . Vogue . ^ (#cite_ref-14) "Rihanna Debuts Fenty x Puma Collection at NYFW, Gigi Hadid Models Icy White 'Frozen' Locks" (https://www.etonline.com/news/182274_rihanna_debuts_fenty_x_puma_collection_nyfw_gigi_hadid_models_icy_white_hair) . Entertainment Tonight . ^ (#cite_ref-15) "Meet the Model Whose Golden Blonde Hair Is Becoming a Fashion Week Phenomenon" (https://www.vogue.com/article/model-frederikke-sofie-falbe-curly-blonde-hair) . Vogue . ^ (#cite_ref-16) "Marchesa" (https://models.com/client/marchesa) . MODELS.com . ^ (#cite_ref-17) "These Are the 12 Model MVPs From Spring 2016" (https://www.vogue.com/article/top-12-models-spring-2016) . Vogue . ^ (#cite_ref-18) Dazed. "Tommy Hilfiger SS16" (https://www.dazeddigital.com/fashion/gallery/20464/0/tommy-hilfiger-ss16) . Dazed . ^ (#cite_ref-19) "The Chanel Guide to Upgrading Your Beach Waves This Summer" (https://www.vogue.com/article/chanel-resort-spring-2017-hair-hat) . Vogue . ^ (#cite_ref-20) "Vogue Italia settembre 2016: Fashion of the times" (https://www.vogue.it/moda/cover-fashion-stories/2016/09/01/vogue-italia-settembre-2016-steven-meisel-fashion-of-the-times) . Vogue Italia . ^ (#cite_ref-21) "Frederikke Sofie – Patrick Demarchelier – Vogue China – July 2016 – DNA Models" (http://www.dnamodels.com/newsletter/?p=12449) . ^ (#cite_ref-22) Conlon, Scarlett. "WATCH: First Light On Film" (https://www.vogue.co.uk/article/february-issue-film-tyrone-le-bon-francesca-burns-shoot) . British Vogue . ^ (#cite_ref-23) Magazine, W. "Cult Classics for the World's Top Models" (https://www.wmagazine.com/gallery/cult-classics-irina-shayk-joan-smalls/all) . W Magazine . ^ (#cite_ref-24) "Frederikke Sofie by Daniel Jackson for WSJ Magazine November 2016" (https://web.archive.org/web/20170305200739/http://thefashionography.com/frederikke-sofie-daniel-jackson-wsj-magazine-november-2016/) . The Fashionography . 27 October 2016. Archived from the original (http://thefashionography.com/frederikke-sofie-daniel-jackson-wsj-magazine-november-2016/) on 5 March 2017 . Retrieved 5 March 2017 . ^ (#cite_ref-25) "Vogue Germany" (https://www.homeagency.com/artists/sarajane-hoare/portfolio/c-09-2016-1) . Home Agency . ^ (#cite_ref-26) "Street style: The best off-duty model looks at Fashion Week" (https://www.vogue.fr/fashion/fashion-inspiration/diaporama/street-style-the-best-off-duty-model-looks-spotted-at-new-york-fashion-week/37059) . Vogue Paris . ^ (#cite_ref-27) Studeman, Kristin Tice. "The Danish Girls: 9 Stylish Women in Copenhagen to Follow on Instagram" (https://www.wmagazine.com/gallery/9-stylish-women-in-copenhagen-to-follow-on-instagram/all) . W Magazine . 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(Redirected from Singapore Fashion Festival (/w/index.php?title=Singapore_Fashion_Festival&redirect=no) ) Fashion Festival Not to be confused with Singapore Fashion Festival, which is now known as Asia Fashion Exchange (/wiki/Asia_Fashion_Exchange) . The Audi Fashion Festival Singapore (or Singapore Fashion Week ) is a series of annual fashion trade events held in Singapore since 1988. It was known as Fashion Connection between 1988 and 2000, Singapore Fashion Week between 2001 and 2008, and Audi Fashion Festival Singapore after gaining titular sponsorship from Audi (/wiki/Audi) in 2009. [1] (#cite_note-:3-1) [2] (#cite_note-2) [3] (#cite_note-3) [4] (#cite_note-:4-4) The event was again rebranded as Singapore Fashion Week in 2015 despite still being known as the 'Audi Fashion Festival Singapore'. [5] (#cite_note-5) [6] (#cite_note-:0-6) The event is not to be confused with the Singapore Fashion Festival, which also ran between 2001 and 2008, but was supported by the Singapore Tourism Board (/wiki/Singapore_Tourism_Board) (STB). The Singapore Fashion Festival eventually became the Asia Fashion Exchange (/wiki/Asia_Fashion_Exchange) (AFX) in 2010, [7] (#cite_note-7) and hosts the Audi Fashion Festival Singapore as part of its flagship event. [8] (#cite_note-8) The last event is expected to be in 2017 as current event chairman Tjin Lee is setting her sights on expanding regionally. [9] (#cite_note-:2-9) 2009 - 2014 [ edit ] Audi Fashion Festival (AFF) was a fashion festival that took place in May every year from 2009 to 2014. Incepted in 2009, it replaced the Singapore Fashion Week, and welcomed consumers to conventionally by-invite only shows for media and trade. [10] (#cite_note-10) It was held at Tent@Orchard in the heart of the Orchard Road (/wiki/Orchard_Road) fashion belt from 2009 to 2012, and 2014. In 2013, AFF moved to Marina Promenade (/wiki/Marina_Promenade) . [11] (#cite_note-11) Organized by Mercury Marketing & Communications, AFF was the first privately funded consumer fashion event, [12] (#cite_note-12) with Audi as the titular sponsor. It was a high-profile platform for both international and Asian emerging and established designers. [13] (#cite_note-:1-13) During its run, the festival showcased collections by a host of top international designers and labels such as Prabal Gurung (/wiki/Prabal_Gurung) , Oscar de la Renta (/wiki/Oscar_de_la_Renta) , Christian Lacroix (/wiki/Christian_Lacroix) , Vivienne Westwood (/wiki/Vivienne_Westwood) , Gareth Pugh (/wiki/Gareth_Pugh) , Marc by Marc Jacobs (/wiki/Marc_Jacobs) , Missoni (/wiki/Missoni) , Ungaro (/wiki/Emanuel_Ungaro) , Erdem (/wiki/Erdem_Moral%C4%B1o%C4%9Flu) , DSquared (/wiki/DSquared) , Roberto Cavalli (/wiki/Roberto_Cavalli) , Mugler (/wiki/Mugler) , Zac Posen (/wiki/Zac_Posen) , Roland Mouret (/wiki/Roland_Mouret) , Carolina Herrera (/wiki/Carolina_Herrera_(fashion_designer)) , Tsumori Chisato (/wiki/Tsumori_Chisato) , Peter Pilotto (/w/index.php?title=Peter_Pilotto&action=edit&redlink=1) and Hussein Chalayan (/wiki/Hussein_Chalayan) . [13] (#cite_note-:1-13) On top of international designers, Singaporean designers showcased at AFF. The number of local labels doubled from 2013 to 2014, with four local labels – Hansel, Ong Shunmugam (/wiki/Ong_Shunmugam) , Exhibit, and Saturday – showcasing at Audi Fashion Festival 2014. [14] (#cite_note-14) 2009 Audi Fashion Festival [ edit ] The 2009 fashion festival took place at the TENT@ORCHARD from 6 May to 10 May 2009. Singapore's fashion elite gathered for the nation's biggest scale fashion event at the newly minted Audi Fashion Festival – marking the first ever privately owned fashion festival. Organized by Mercury Marketing and Communications, the festival welcomed fashion's biggest and hottest names including Christian Lacroix (/wiki/Christian_Lacroix) , Gareth Pugh (/wiki/Gareth_Pugh) , Vivienne Westwood (/wiki/Vivienne_Westwood) , Jacquetta Wheeler (/wiki/Jacquetta_Wheeler) , Ashley Isham (/wiki/Ashley_Isham) , RAOUL, Marc by Marc Jacobs (/wiki/Marc_by_Marc_Jacobs) , Mango, and Singapore's creative crop from BlackMarket, Nicholas by Nic Wong and Hansel by Jo Soh. ‘Driving Innovation and Inspiration' was the theme for the inaugural Audi Fashion Festival 2009 and the festival certainly lived up to that note with a spectacular string of shows that inspired, dazzled and rocked the region. There were many firsts; first haute couture collection to be showcased on such a grand scale on Orchard Road (/wiki/Orchard_Road) , Gareth Pugh first catwalk presentation of his Fall 2009 women's and men's collection, and Ashley Isham's debut of ethereal yet elegant bridal gowns. The five show-filled days of Audi Fashion Festival drew a strong 7000 guests, with a sell-out six ticketed shows. Audi Fashion Festival 2009 wrapped up as the most glamorous and dazzling event of the fashion and social calendar with Vivienne Westwood's Anglomania Autumn/Winter 09-10 collection. Dame Vivienne Westwood was also awarded Audi Lifetime Achievement Award, with Commercial Director Giuseppe Aragoni in town to accept on her behalf. 2015 - present [ edit ] In 2015, the event was rebranded as Singapore Fashion Week (SGFW) although it is still referred to as the Audi Fashion Festival Singapore. The event is organized by Mercury Marketing & Communications. An excerpt of the website states "casting a spotlight on Asian talent, SGFW is a showcase of world-class collections by top and emerging designers and labels and is the only fashion week in the world that feature established and emerging regional and homegrown designers and labels alongside the world’s most iconic international designers." [15] (#cite_note-auto-15) Singapore Fashion Week 2015 [ edit ] The fashion event claimed the iconic name Singapore Fashion Week and returned with a revamped format. Building on eight successful editions as a consumer-centric fashion festival, SGFW broadened its scope to include thought-leadership initiatives and industry development. [6] (#cite_note-:0-6) One initiative was the SGFW Fashion Talk Series – a series of thought-leadership and industry talks organized in partnership with LASALLE College of the Arts (/wiki/LASALLE_College_of_the_Arts) . In 2015, SGFW introduced strategic global alliances. SGFW partnered with the Council of Fashion Designers of America (/wiki/Council_of_Fashion_Designers_of_America) (CFDA), which saw CFDA members Diane von Furstenberg (/wiki/Diane_von_F%C3%BCrstenberg) and Thakoon Panichgul (/wiki/Thakoon_Panichgul) showcasing their latest collections as part of the tie up. SGFW's partnership with UK Trade & Investment (/wiki/UK_Trade_%26_Investment) (UKTI) saw British designer and UK’S "GREAT" campaign ambassador Victoria Beckham (/wiki/Victoria_Beckham) presenting her Autumn/Winter 2015 collection at SGFW 2015. [15] (#cite_note-auto-15) To support homegrown talent, SGFW introduced Fashion Futures, a new talent development programme to internationalize Singapore designers. [16] (#cite_note-16) Singaporean designers Priscilla Shunmugam (/wiki/Priscilla_Shunmugam) of Ong Shunmugam (/wiki/Ong_Shunmugam) , Sabrina Goh of ELOHIM, and Chelsea Schott-Blackhall of Dzojchen presented as part of the pilot edition of Fashion Futures. Singapore Fashion Week 2016 [ edit ] The Singapore Fashion Week returns in 2016 with a new date, location and initiatives. The 2016 edition took place in October instead of May, from 26 to 30 October, in order to align with international Fashion Weeks. [17] (#cite_note-17) The new date allows designers to showcase Spring/Summer collections that are more suited to the region's tropical climate instead of Fall/Winter collections that were previously showcased when the festival was held in May. [18] (#cite_note-18) Further, a six-month calendar of fashion and industry-related activities made accessible to the public would culminate in the Singapore Fashion Week held in October. SGFW 2016 was held at National Gallery Singapore (/wiki/National_Gallery_Singapore) , housed in two national monuments in the heart of the Civic District – the former Supreme Court (/wiki/Supreme_Court_of_Singapore) and City Hall (/wiki/City_Hall,_Singapore) . At the new location, SGFW would feature a curved runway with more than 350 front row seats, instead of conventional theatre-style seating, for a novel guest experience. The 2016 edition will include Digital Fashion Week (DFW) after its acquisition by SGFW, which would welcome a larger digital presence for SGFW. DFW is a designer showcase formerly targeted at young designers with an emphasis on online and social media. It has supported more than 50 local designers through fashion events and runway shows held annually in Singapore and Bangkok (/wiki/Bangkok) . Viewers can enjoy 360° virtual reality and live streaming of SGFW content via the Digital Fashion Week’s online portal (http://digitalfashionweek.com) . [19] (#cite_note-19) In addition to SGFW Gallery, SGFW introduced Singapore Fashion Week Access – an industry-support platform that aims to support the Singapore fashion industry by providing designers and businesses opportunities to exhibit their collections through smaller scale, flexible-format fashion presentations. [20] (#cite_note-20) SGFW turns the spotlight on Asian talents with the participation of top names in fashion such as Chinese couturier Guo Pei (/wiki/Guo_Pei) , Indian-American fashion designer Naeem Khan (/wiki/Naeem_Khan) , and London-based designer Han Chong who is behind contemporary womenswear label Self-Portrait. [21] (#cite_note-21) For the first time ever, a Singaporean designer – Max Tan of MAX.TAN – will open the fashion week at SGFW Access. Singapore Fashion Week 2017 [ edit ] The last Singapore Fashion Week took place on 26 to 28 Oct 2017. [9] (#cite_note-:2-9) References [ edit ] ^ (#cite_ref-:3_1-0) Singapore, National Library Board. "Singapore Fashion Festival \| Infopedia" (http://eresources.nlb.gov.sg/infopedia/articles/SIP_417_2005-01-26.html) . eresources.nlb.gov.sg . Archived (https://web.archive.org/web/20161031214945/http://eresources.nlb.gov.sg/infopedia/articles/SIP_417_2005-01-26.html) from the original on 31 October 2016 . Retrieved 1 August 2018 . ^ (#cite_ref-2) FASHION FESTIVAL 2001 POISED TO POSITION SINGAPORE AS A REGIONAL FASHION CAPITAL (http://www.asiatraveltips.com/travelnews2000/20November2000Singapore.htm) Archived (https://web.archive.org/web/20180801064531/http://www.asiatraveltips.com/travelnews2000/20November2000Singapore.htm) 1 August 2018 at the Wayback Machine (/wiki/Wayback_Machine) . Asiatraveltips.com (20 November 2000). ^ (#cite_ref-3) "About \| Audi Fashion Festival" (http://audifashionfestival.com/about/) . audifashionfestival.com . Archived (https://web.archive.org/web/20160414032917/http://audifashionfestival.com/about/) from the original on 14 April 2016 . Retrieved 1 August 2018 . ^ (#cite_ref-:4_4-0) Chia, Stacey. "Audi Fashion Festival goes solo" (https://web.archive.org/web/20161031215951/http://news.asiaone.com/news/plush/audi-fashion-festival-goes-solo?page=0,1) . AsiaOne. Archived from the original (http://news.asiaone.com/news/plush/audi-fashion-festival-goes-solo?page=0%2C1) on 31 October 2016 . Retrieved 14 October 2016 . ^ (#cite_ref-5) "The Success Story Behind Singapore Fashion Week" (https://fashionista.com/2013/05/how-singapore-fashion-week-is-transforming-the-traditional-trade-show-into-a-consumer-extravaganza) . Fashionista . Retrieved 1 August 2018 . ^ a b Phillips, Tracy. "Singapore Fashion Week: 20 years in the making" (http://www.buro247.sg/fashion/insiders/singapore-fashion-week-20-years-in-the-making.html) . Buro 24/7 . Archived (https://web.archive.org/web/20161101040900/http://www.buro247.sg/fashion/insiders/singapore-fashion-week-20-years-in-the-making.html) from the original on 1 November 2016 . Retrieved 14 October 2016 . ^ (#cite_ref-7) "SPRING - Asia Fashion Exchange launches in April 2010" (https://archive.today/20100621001031/http://www.spring.gov.sg/NewsEvents/PR/Pages/Asia-Fashion-Exchange-launches-in-April-2010-20100111.aspx) . archive.li . 21 June 2010. Archived from the original (http://www.spring.gov.sg/NewsEvents/PR/Pages/Asia-Fashion-Exchange-launches-in-April-2010-20100111.aspx) on 21 June 2010 . Retrieved 1 August 2018 . ^ (#cite_ref-8) "Singapore's Passion For Fashion Ramps Up with Asia Fashion Exchange" (https://web.archive.org/web/20180802041028/https://www.stb.gov.sg/news-and-publications/newsletters/Pages/March%202015/AFX_2005.aspx) . www.stb.gov.sg . Archived from the original (https://www.stb.gov.sg/news-and-publications/newsletters/Pages/March%202015/AFX_2005.aspx) on 2 August 2018 . Retrieved 1 August 2018 . ^ a b Seah, May (16 November 2017). "The curtain falls on Singapore Fashion Week" (https://www.straitstimes.com/lifestyle/fashion/goodbye-singapore-fashion-week) . The Straits Times . Archived (https://web.archive.org/web/20180801094210/https://www.straitstimes.com/lifestyle/fashion/goodbye-singapore-fashion-week) from the original on 1 August 2018 . Retrieved 1 August 2018 . ^ (#cite_ref-10) "Audi Fashion Festival 2014 "The Art of Progress" (http://audifashionfestival.com/about/) " (http://audifashionfestival.com/about/) . Audi Fashion Festival . Archived (https://web.archive.org/web/20160414032917/http://audifashionfestival.com/about/) from the original on 14 April 2016 . Retrieved 14 October 2016 . ^ (#cite_ref-11) "Day 1: Audi Fashion Festival 2013 begins" (http://www.herworldplus.com/fashion/fashion-blogs/day-1-audi-fashion-festival-2013-begins) . HerWorldPlus. 15 May 2013. Archived (https://web.archive.org/web/20161101042248/http://www.herworldplus.com/fashion/fashion-blogs/day-1-audi-fashion-festival-2013-begins) from the original on 1 November 2016 . Retrieved 14 October 2016 . ^ (#cite_ref-12) Ankita, Varma (13 July 2015). "Entrepreneur Tjin Lee: Day-dreamer comes through" (http://www.straitstimes.com/lifestyle/fashion/entrepreneur-tjin-lee-day-dreamer-comes-through) . The Straits Times. Archived (https://web.archive.org/web/20161013054849/http://www.straitstimes.com/lifestyle/fashion/entrepreneur-tjin-lee-day-dreamer-comes-through) from the original on 13 October 2016 . Retrieved 14 October 2016 . ^ a b "Audi Fashion Festival 2014" (https://web.archive.org/web/20160520175649/http://mercurymc.com/audi-fashion-festival-2/) . Mercury Marketing & Communications . Archived from the original (http://mercurymc.com/audi-fashion-festival-2/) on 20 May 2016 . Retrieved 14 October 2016 . ^ (#cite_ref-14) Chia, Stacey (13 May 2014). "Audi Fashion Festival highlights local designers alongside international labels" (http://www.straitstimes.com/lifestyle/audi-fashion-festival-highlights-local-designers-alongside-international-labels) . Archived (https://web.archive.org/web/20161031213955/http://www.straitstimes.com/lifestyle/audi-fashion-festival-highlights-local-designers-alongside-international-labels) from the original on 31 October 2016 . Retrieved 14 October 2016 . ^ a b "Singapore Fashion Week 2015: 13-17 May 2015" (https://web.archive.org/web/20161031214141/http://www.fccsingapore.com/news/singapore-fashion-week-2015-13-17-may-2015) . French Chamber Singapore . Archived from the original (http://www.fccsingapore.com/news/singapore-fashion-week-2015-13-17-may-2015) on 31 October 2016 . Retrieved 14 October 2016 . ^ (#cite_ref-16) Chia, Stacey (16 February 2015). "Singapore Fashion Week 2015 returns with a new direction" (http://www.herworldplus.com/fashion/updates/audi-fashion-festival-changes-singapore-fashion-week-dvf-show) . HerWorldPlus. Archived (https://web.archive.org/web/20161101042244/http://www.herworldplus.com/fashion/updates/audi-fashion-festival-changes-singapore-fashion-week-dvf-show) from the original on 1 November 2016 . Retrieved 14 October 2016 . ^ (#cite_ref-17) Thoufeekh, Shairah. "Singapore Fashion Week 2016: The Biggest Local Fashion Event of the year has been Postponed to October" (http://thehoneycombers.com/singapore/singapore-fashion-week-2016-the-biggest-local-fashion-event-of-the-year-has-been-postponed-to-october/#3jcQoYWceDgwITQp.97) . honeycombers . Archived (https://web.archive.org/web/20161031212200/http://thehoneycombers.com/singapore/singapore-fashion-week-2016-the-biggest-local-fashion-event-of-the-year-has-been-postponed-to-october/#3jcQoYWceDgwITQp.97) from the original on 31 October 2016 . Retrieved 31 October 2016 . ^ (#cite_ref-18) Woo, Alyssa (18 February 2016). "New Date and Local for Fashion Week" (http://www.straitstimes.com/lifestyle/fashion/new-date-and-locale-for-fashion-week) . The Straits Times. Archived (https://web.archive.org/web/20161031213511/http://www.straitstimes.com/lifestyle/fashion/new-date-and-locale-for-fashion-week) from the original on 31 October 2016 . Retrieved 31 October 2016 . ^ (#cite_ref-19) Woo, Alyssa (28 April 2016). "Runway shows at Singapore Fashion Week will be live-streamed online" (http://www.straitstimes.com/lifestyle/fashion/runway-shows-at-singapore-fashion-week-will-be-live-streamed-online) . The Straits Times. Archived (https://web.archive.org/web/20161031213925/http://www.straitstimes.com/lifestyle/fashion/runway-shows-at-singapore-fashion-week-will-be-live-streamed-online) from the original on 31 October 2016 . Retrieved 31 October 2016 . ^ (#cite_ref-20) "S'pore Fashion Week unveils new partnerships and intitiatives" (http://www.todayonline.com/lifestyle/style/spore-fashion-week-unveils-new-partnerships-and-intitiatives) . Today. 28 April 2016. Archived (https://web.archive.org/web/20161101040948/http://www.todayonline.com/lifestyle/style/spore-fashion-week-unveils-new-partnerships-and-intitiatives) from the original on 1 November 2016 . Retrieved 31 October 2016 . ^ (#cite_ref-21) "Singapore Fashion Week 2016: Asian & Local Designers Take The Spotlight This October" (http://popspoken.com/style/2016/09/singapore-fashion-week-2016-asian-local-designers-to-take-the-spotlight) . Pop Spoken . Archived (https://web.archive.org/web/20161030213503/http://popspoken.com/style/2016/09/singapore-fashion-week-2016-asian-local-designers-to-take-the-spotlight) from the original on 30 October 2016 . Retrieved 31 October 2016 . External links [ edit ] Singapore Fashion Online Website (https://web.archive.org/web/20070503104405/http://www.singaporefashion.com.sg/) Article on Singapore Fashion Week (https://web.archive.org/web/20070928024202/http://www.papierdoll.net/fashion.php?ID=497) Asia Fashion Exchange (https://web.archive.org/web/20130926142455/http://www.asiafashionexchange.com.sg/) Audi Fashion Festival (http://www.audifashionfestival.com) Blueprint (http://www.blueprint.sg/) Star Creation (http://www.starcreation.sg) v t e Fashion weeks (/wiki/Fashion_week) By location "Big four" New York (/wiki/New_York_Fashion_Week) London (/wiki/London_Fashion_Week) Milan (/wiki/Milan_Fashion_Week) Paris (/wiki/Paris_Fashion_Week) Others Amsterdam (/wiki/Amsterdam_Fashion_Week) Australia (/wiki/Australian_Fashion_Week) Boston (/wiki/Boston_Fashion_Week) Brisbane (/wiki/Mercedes-Benz_Fashion_Festival_Brisbane) Berlin (/wiki/Berlin_Fashion_Week) Colombo (/wiki/Colombo_Fashion_Week) Copenhagen (/wiki/Copenhagen_Fashion_Week) Detroit (/wiki/Detroit_Fashion_Week) India (/wiki/India_Fashion_Week) Jakarta (/wiki/Jakarta_Fashion_Week) Kuala Lumpur (/wiki/Kuala_Lumpur_Fashion_Week) Lagos (/wiki/Lagos_Fashion_Week) Lahore and Karachi (/wiki/PFDC_Sunsilk_Fashion_Week) Los Angeles (/wiki/Los_Angeles_Fashion_Week) Madrid (/wiki/Madrid_Fashion_Week) Malta (/w/index.php?title=Malta_Fashion_Week&action=edit&redlink=1) Mexico City (/wiki/Fashion_Week_Mexico_City) Miami (/wiki/Mercedes-Benz_Fashion_Week_Miami) New Zealand (/wiki/New_Zealand_Fashion_Week) Ottawa (/wiki/Ottawa_Fashion_Week) Port Harcourt, Nigeria (/wiki/Port_Harcourt_International_Fashion_Week) Rio de Janeiro (/wiki/Rio_Fashion_Week) São Paulo (/wiki/S%C3%A3o_Paulo_Fashion_Week) Sibiu, Romania (/wiki/Feeric_Fashion_Week) Singapore (/wiki/Singapore_Fashion_Week) Shanghai (/wiki/Shanghai_Fashion_Week) Shenzhen (/w/index.php?title=Shenzhen_Fashion_Week&action=edit&redlink=1) Tbilisi (/wiki/Tbilisi_Fashion_Week) Toronto (/wiki/Toronto_Fashion_Week) Vancouver (/wiki/Vancouver_Fashion_Week) Yangon, Myanmar (/wiki/Myanmar_International_Fashion_Week) See also List of fashion events (/wiki/List_of_fashion_events) Fashion portal (/wiki/Portal:Fashion) NewPP limit report Parsed by mw‐web.codfw.main‐58c7647fd9‐tcbzr Cached time: 20240713013436 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.355 seconds Real time usage: 0.454 seconds Preprocessor visited node count: 1489/1000000 Post‐expand include size: 52704/2097152 bytes Template argument size: 1005/2097152 bytes Highest expansion depth: 12/100 Expensive parser function count: 4/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 86928/5000000 bytes Lua time usage: 0.238/10.000 seconds Lua memory usage: 5446424/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 408.110 1 -total 47.71% 194.720 1 Template:Reflist 27.77% 113.352 9 Template:Cite_web 21.82% 89.070 1 Template:Fashion_weeks 21.32% 86.989 1 Template:Navbox 17.05% 69.589 1 Template:Short_description 11.59% 47.311 11 Template:Cite_news 9.74% 39.763 2 Template:Pagetype 5.27% 21.487 1 Template:Distinguish 4.60% 18.782 5 Template:Main_other Saved in parser cache with key enwiki:pcache:idhash:52149550-0!canonical and timestamp 20240713013436 and revision id 1079433345. Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Audi_Fashion_Festival_Singapore&oldid=1079433345 (https://en.wikipedia.org/w/index.php?title=Audi_Fashion_Festival_Singapore&oldid=1079433345) " Categories (/wiki/Help:Category) : Festivals in Singapore (/wiki/Category:Festivals_in_Singapore) Fashion events in Singapore (/wiki/Category:Fashion_events_in_Singapore) Annual events in Singapore (/wiki/Category:Annual_events_in_Singapore) Recurring events established in 2001 (/wiki/Category:Recurring_events_established_in_2001) 2001 establishments in Singapore (/wiki/Category:2001_establishments_in_Singapore) Fashion festivals (/wiki/Category:Fashion_festivals) Hidden categories: Webarchive template wayback links (/wiki/Category:Webarchive_template_wayback_links) Articles with short description (/wiki/Category:Articles_with_short_description) Short description is different from Wikidata (/wiki/Category:Short_description_is_different_from_Wikidata) Use dmy dates from August 2018 (/wiki/Category:Use_dmy_dates_from_August_2018) Use Singapore English from August 2018 (/wiki/Category:Use_Singapore_English_from_August_2018) All Wikipedia articles written in Singapore English (/wiki/Category:All_Wikipedia_articles_written_in_Singapore_English)
Biography portal (/wiki/Portal:Biography) Fashion portal (/wiki/Portal:Fashion) India portal (/wiki/Portal:India) United States portal (/wiki/Portal:United_States) NewPP limit report Parsed by mw‐web.eqiad.main‐8645764cd7‐sl6vh Cached time: 20240713211040 Cache expiry: 2592000 Reduced expiry: false Complications: [] CPU time usage: 0.073 seconds Real time usage: 0.091 seconds Preprocessor visited node count: 25/1000000 Post‐expand include size: 1958/2097152 bytes Template argument size: 0/2097152 bytes Highest expansion depth: 3/100 Expensive parser function count: 4/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 1041/5000000 bytes Lua time usage: 0.043/10.000 seconds Lua memory usage: 804002/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 74.718 1 Template:Portal 100.00% 74.718 1 -total Saved in parser cache with key enwiki:pcache:idhash:50864883-0!canonical and timestamp 20240713211040 and revision id 1206439628. Rendering was triggered because: page-view Pages in category "American female models of Indian descent" The following 14 pages are in this category, out of 14 total. This list may not reflect recent changes (/wiki/Wikipedia:FAQ/Categorization#Why_might_a_category_list_not_be_up_to_date?) . B Pooja Batra (/wiki/Pooja_Batra) C Alva Chinn (/wiki/Alva_Chinn) Syma Chowdhry (/wiki/Syma_Chowdhry) Susie Coelho (/wiki/Susie_Coelho) D Nina Davuluri (/wiki/Nina_Davuluri) G Veena Goel (/wiki/Veena_Goel) H Mehr Hassan (/wiki/Mehr_Hassan) J Anchal Joseph (/wiki/Anchal_Joseph) K Pooja Kumar (/wiki/Pooja_Kumar) L Padma Lakshmi (/wiki/Padma_Lakshmi) P Indrani Pal-Chaudhuri (/wiki/Indrani_Pal-Chaudhuri) Thara Prashad (/wiki/Thara_Prashad) S Shree Saini (/wiki/Shree_Saini) V Kimi Verma (/wiki/Kimi_Verma) esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Category:American_female_models_of_Indian_descent&oldid=1206439628 (https://en.wikipedia.org/w/index.php?title=Category:American_female_models_of_Indian_descent&oldid=1206439628) " Categories (/wiki/Help:Category) : American female models (/wiki/Category:American_female_models) American models of Indian descent (/wiki/Category:American_models_of_Indian_descent) Female models of Indian descent (/wiki/Category:Female_models_of_Indian_descent)
English-American textile manufacturer James Kitchenman Born ( 1825-11-19 ) November 19, 1825 Barnsley, England (/wiki/Barnsley,_England) Died December 25, 1909 (1909-12-25) (aged 84) Philadelphia (/wiki/Philadelphia) , Pennsylvania (/wiki/Pennsylvania) , U.S. Resting place Laurel Hill Cemetery (/wiki/Laurel_Hill_Cemetery) , Philadelphia, Pennsylvania, U.S. Known for Carpet manufacturing Spouse Margaret Crawford James Kitchenman (November 19, 1825 – December 25, 1909) was an English-American textile manufacturer who owned the Kitchenman & Neal carpet (/wiki/Carpet) manufacturing operations in the Kensington (/wiki/Kensington,_Philadelphia) neighborhood of Philadelphia, Pennsylvania. Early life [ edit ] Kitchenman was born in Barnsley, England (/wiki/Barnsley,_England) , on November 19, 1825, to Richard Kitchenman and Phoebe Foster Kitchenman. He traveled as a child with his parents to America. His financial resources were very limited and he took a job as a youth in a dye shop. [1] (#cite_note-Oberholtzer-1) Career [ edit ] Dyes [ edit ] He worked in a dye house and became familiar with the business. He was determined to engage in the same line some day with his own company. He established a successful dyeing business which he operated for many years. [1] (#cite_note-Oberholtzer-1) Carpets [ edit ] Crompton Loom He engaged in the manufacture of carpets with Samuel Horner and his brother at Amber and Letterly streets. After the dissolution of that partnership he turned his attention to the manufacture of ingrain carpets and woolen and worsted yarns, having a large plant at Huntingdon and Jasper streets. [1] (#cite_note-Oberholtzer-1) He was joined in a partnership by George M. Neal in the manufacture of body Brussels and Axminster carpets (/wiki/Axminster_carpet) , under the company name of Kitchenman & Neal. With the growth of the business he kept increasing his facilities, adding to his mill until he had one of the largest and finest manufacturing enterprises in Kensington. [1] (#cite_note-Oberholtzer-1) He used the Markland loom of 1868, and later the more efficient Crompton & Knowles (/wiki/Crompton_Corporation) ingrain looms. [2] (#cite_note-Obituary-2) Hosiery [ edit ] He also took up the manufacture of hosiery (/wiki/Hosiery) , which he carried on a large scale at Amber and Letterly streets. The attractiveness of design and the excellence of quality in all of his manufactured products brought him substantial success, his sales annually increased until he became recognized as one of the most prominent manufacturers of eastern Pennsylvania. About fifteen years prior to his death he retired from active business, although he still retained his mill at Jasper and Huntingdon streets. [1] (#cite_note-Oberholtzer-1) Family [ edit ] James Kitchenman memorial in Laurel Hill Cemetery (/wiki/Laurel_Hill_Cemetery) Kitchenman was married in Philadelphia in the 1850s to Miss Margaret Crawford, a daughter of William Crawford, who was an early resident of this city. Among their descendants are the artist Elizabeth Kitchenman Coyne (/wiki/Elizabeth_Kitchenman_Coyne) [3] (#cite_note-AskArt-3) and Republican former member of the U.S. House of Representatives James K. Coyne III (/wiki/James_K._Coyne_III) . Kitchenman was a member of the Independent Order of Odd Fellows (/wiki/Independent_Order_of_Odd_Fellows) and attended the Bethel Presbyterian church in North Philadelphia. [1] (#cite_note-Oberholtzer-1) His political allegiance was given to the Democratic party (/wiki/Democratic_Party_(United_States)) . [4] (#cite_note-Scranton-4) In 1885, he was proposed as a candidate for Sheriff of Philadelphia, by a committee from the Knights of Labor, who applauded him as a Democrat, businessman, and "friend of labor" who sought to protect workingmen's rights to fair wages. [5] (#cite_note-5) He was a public-spirited citizen and supported various projects and movements for the general good. [1] (#cite_note-Oberholtzer-1) His last years were spent in retirement from business in a home at 1024 West Lehigh Avenue, Philadelphia, where he remained until his death, which occurred on Christmas Day of 1909. [1] (#cite_note-Oberholtzer-1) He is buried in Laurel Hill Cemetery (/wiki/Laurel_Hill_Cemetery) . [2] (#cite_note-Obituary-2) Hexamer General Surveys [ edit ] The Hexamer General Surveys document the floor plans for a number of Kitchenman's factories over time. Hexamer General Surveys, Volume 6, Plate 464: James Kitchenman's Carpet Manufactory (https://www.philageohistory.org/rdic-images/view-image.cfm/HGSv6%2E0464) Hexamer General Surveys, Volume 7, Plate 648: James Kitchenman's Worsted Factory (https://www.philageohistory.org/rdic-images/view-image.cfm/HGSv7%2E0648) Hexamer General Surveys, Volume 12, Plate 1085: James Kitchenman's Worsted Factory (https://www.philageohistory.org/rdic-images/view-image.cfm/HGSv12%2E1085) Hexamer General Surveys, Volume 13, Plate 1200: James Kitchenman's Worsted Factory (https://www.philageohistory.org/rdic-images/view-image.cfm/HGSv13%2E1200) Hexamer General Surveys, Volume 17, Plate 1629: James Kitchenman's Carpet Factory (https://www.philageohistory.org/rdic-images/view-image.cfm/HGSv17%2E1629) Hexamer General Surveys, Volume 30, Plate 2941: James Kitchenman's Carpet Factory (https://www.philageohistory.org/rdic-images/view-image.cfm/HGSv30%2E2941) References [ edit ] ^ Jump up to: a b c d e f g h Oberholtzer, Ellis Paxson (1912). Philadelphia, A History of the City and its People; A Record of 225 Years . Vol. 4. Philadelphia: S. H. Clark. p. 418. ^ Jump up to: a b "Death of James Kitchenman" (https://books.google.com/books?id=i3cxAQAAMAAJ) . American Carpet and Upholstery Journal . 28 (January): 63. 1910. ^ (#cite_ref-AskArt_3-0) "Elizabeth Kitchenman Coyne (1892 - 1971)" (https://www.askart.com/artist/Elizabeth_Kitchenman_Coyne/133377/Elizabeth_Kitchenman_Coyne.aspx) . AskArt . Retrieved 17 March 2018 . ^ (#cite_ref-Scranton_4-0) Scranton, Philip (2002). Figured tapestry : production, markets and power in Philadelphia textiles . Cambridge, England: Cambridge University Press. pp. 98–99. ISBN (/wiki/ISBN_(identifier)) 9780521521369 . Retrieved 28 October 2019 . ^ (#cite_ref-5) "Sanders for Sheriff" (https://www.newspapers.com/clip/30042944/kitchenman_james_the_times_phila/) . The Times (Phila) . October 2, 1885 . Retrieved 6 February 2020 . Sources [ edit ] This article incorporates text from a free content (/wiki/Free_content) work. . Text taken from Oberholtzer, Ellis Paxson (1912). Philadelphia, A History of the City and its People; A Record of 225 Years . Vol. 4. Philadelphia: S. H. Clark. p. 418. 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Canadian value fashion retailer This article includes a list of general references (/wiki/Wikipedia:Citing_sources) , but it lacks sufficient corresponding inline citations (/wiki/Wikipedia:Citing_sources#Inline_citations) . Please help to improve (/wiki/Wikipedia:WikiProject_Reliability) this article by introducing (/wiki/Wikipedia:When_to_cite) more precise citations. ( August 2019 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Arden Holdings Inc. Ardene Headquarters in Laval, Quebec Trade name (/wiki/Trade_name) Ardene Company type Private (/wiki/Privately_held_company) Industry Fashion Genre Retail Founded 1982 ; 42 years ago ( 1982 ) Headquarters Laval (/wiki/Laval,_Quebec) , Quebec (/wiki/Quebec) , Canada (/wiki/Canada) Number of locations 255 (2023) [1] (#cite_note-1) Area served Canada, United States, Middle East Products Clothing (/wiki/Clothing) , accessories (/wiki/Fashion_accessory) , shoes (/wiki/Shoe) , home (/wiki/Home) Number of employees 3,500 Website ardene.com (https://www.ardene.com/) Ardene [arDɛN] is a family-owned value fashion retailer based in Montreal (/wiki/Montreal) , Quebec (/wiki/Quebec) , Canada (/wiki/Canada) . Founded in the early 1980s, Ardene started as an accessories and jewelry retailer, and has since added clothing, shoes, brand collaborations and licensed apparel into its product mix. The company operates close to 300 stores in Canada (/wiki/Canada) , the United States (/wiki/United_States) and the Middle East (/wiki/Middle_East) , and occupies over 2.25 million square feet of retail space globally. The company employs approximately 3,500 people across North America. An old style Ardene at the Medicine Hat Mall (/wiki/Medicine_Hat_Mall) in 2017. New concept store [ edit ] The company started introducing larger stores (20,000 sq ft) in late 2016 to early 2017. Headquarters [ edit ] The corporate Headquarters (/wiki/Corporate_headquarters) are located in Laval (/wiki/Laval,_Quebec) , Quebec (/wiki/Quebec) , Canada. In 2023, the company constructed an omni distribution center (/wiki/Distribution_center) , flagship store and headquarters under one roof. Prior to 2023, the headquarters were in the Montreal borough of Saint-Laurent, Quebec (/wiki/Saint-Laurent,_Quebec) . The company creates, designs, markets and distributes from its headquarters. eCommerce [ edit ] Ardene.com launched in 2012. ECommerce continues to operate today on desktop and mobile, as well as on the Ardene mobile app. International expansion [ edit ] United States [ edit ] In 2015, the company opened its first store in the United States. As of 2022, Ardene operates stores in New York (/wiki/New_York_(state)) , New Jersey (/wiki/New_Jersey) , Connecticut (/wiki/Connecticut) , Pennsylvania (/wiki/Pennsylvania) , Virginia (/wiki/Virginia) , Massachusetts (/wiki/Massachusetts) , Maryland (/wiki/Maryland) , Rhode Island (/wiki/Rhode_Island) and Florida (/wiki/Florida) . Middle East [ edit ] Ardene opened its first Middle East store in April 2016 under a licensed partnership. Today, the company has stores 12 stores in GCC countries (/wiki/Gulf_Cooperation_Council) . Sub-brands [ edit ] Ardene sells a vast assortment of apparel, shoes, and accessories for girls and women and most recently, for men and kids. In 2019, the company launched an eco-conscious collection under the name Ardene Collective. Since 2015, the company has introduced clothing lines such as: Ardene MAN, Ardene KIDS for boys and girls, Rose + Vine lounge and lingerie, MOVE activewear, Swimwear, Ardene Curve extended sizing. This line seems to be discontinued (in 2024), therefore it is no longer inclusive. Ardene Collective eco-conscious, Basics collection, A.C.W. contemporary wear, a.co beauty, Ardene Occasion jewelry, Ardene Home. Ardene Foundation [ edit ] The company also operates the Ardene Foundation (https://ardenecorporate.com/ardene-foundation) , a charity organization focused on community initiatives and social responsibility. The Foundation regularly partners with local and international non-profits and has surpassed $6.6M in charitable donations since its official inception in 2013. [2] (#cite_note-2) The company lists community and responsibility as two of its values and published on its website that it upholds strict ethical codes of conduct for its employees and international suppliers. The company has a no incineration policy for deadstock and donates its postseason merchandise through the Ardene Foundation. References [ edit ] ^ (#cite_ref-1) "Store Locator" (https://www.ardene.com/ca/en/store-locator/001.html#!) . ardene.com . ^ (#cite_ref-2) ardenecorporate.com https://ardenecorporate.com/our-partners (https://ardenecorporate.com/our-partners) . Retrieved 2023-07-20 . {{ cite web (/wiki/Template:Cite_web) }} : Missing or empty \|title= ( help (/wiki/Help:CS1_errors#citation_missing_title) ) External links [ edit ] Wikimedia Commons has media related to Ardene (https://commons.wikimedia.org/wiki/Category:Ardene) . Official website (https://www.ardene.com/) Ardene Corporate (https://ardenecorporate.com/) Ardène ouvre un magasin grande surface à St-Jérôme (https://grenier.qc.ca/nouvelles/13870/ardene-ouvre-un-magasin-grande-surface-a-st-jerome) Ardene Launches Large Format Retail Concept [Photos] (https://www.retail-insider.com/retail-insider/2017/8/ardene) Retail in brief: Ardene’s new millennial layout (http://strategyonline.ca/2017/08/30/retail-in-brief-ardenes-new-millennial-layout/) Kendall and Kylie in Deal With Ardene of Canada (https://wwd.com/business-news/retail/kendall-and-kylie-in-deal-with-ardene-of-canada-1202740028/) EXCLUSIVE: Kendall & Kylie Jenner Are Launching a Capsule Collection With Ardene (https://fashionmagazine.com/fashion/kylie-and-kendall-jenner-ardene/) Kendall and Kylie Jenner's New Swimsuit Collection Is So Sexy, It Already Got Ben Simmons's Attention (https://www.popsugar.com/fashion/Kendall-Kylie-Swimsuits-Collection-Ardene-45883409) NewPP limit report Parsed by mw‐web.codfw.main‐ff98d5cb5‐h682h Cached time: 20240722170632 Cache expiry: 802409 Reduced expiry: true Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.277 seconds Real time usage: 0.393 seconds Preprocessor visited node count: 1797/1000000 Post‐expand include size: 23191/2097152 bytes Template argument size: 2312/2097152 bytes Highest expansion depth: 15/100 Expensive parser function count: 2/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 12272/5000000 bytes Lua time usage: 0.171/10.000 seconds Lua memory usage: 4567706/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 353.090 1 -total 27.16% 95.890 1 Template:Reflist 26.12% 92.226 1 Template:Infobox_company 23.50% 82.978 2 Template:Cite_web 23.31% 82.322 1 Template:Infobox 20.83% 73.534 1 Template:Short_description 16.05% 56.683 1 Template:More_footnotes 13.98% 49.365 1 Template:Ambox 13.74% 48.514 2 Template:Pagetype 6.85% 24.200 1 Template:Commons_category Saved in parser cache with key enwiki:pcache:idhash:30491424-0!canonical and timestamp 20240722170632 and revision id 1217196213. 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Biography portal (/wiki/Portal:Biography) Fashion portal (/wiki/Portal:Fashion) Ontario portal (/wiki/Portal:Ontario) By province or territory Alberta (/wiki/Category:Models_from_Alberta) British Columbia (/wiki/Category:Models_from_British_Columbia) Manitoba New Brunswick Newfoundland and Labrador Northwest Territories Nova Scotia Nunavut Ontario Prince Edward Island Quebec (/wiki/Category:Models_from_Quebec) Saskatchewan Yukon NewPP limit report Parsed by mw‐api‐int.eqiad.main‐66546ff478‐fxxgv Cached time: 20240715100106 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1] CPU time usage: 0.113 seconds Real time usage: 0.152 seconds Preprocessor visited node count: 46/1000000 Post‐expand include size: 4078/2097152 bytes Template argument size: 0/2097152 bytes Highest expansion depth: 4/100 Expensive parser function count: 16/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 3485/5000000 bytes Lua time usage: 0.086/10.000 seconds Lua memory usage: 1526929/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 135.555 1 -total 64.86% 87.920 1 Template:CanadaByProvinceCatNav 34.96% 47.386 1 Template:Portal Saved in parser cache with key enwiki:pcache:idhash:69663787-0!canonical and timestamp 20240715100106 and revision id 1063490391. Rendering was triggered because: api-parse Subcategories This category has only the following subcategory. + Female models from Ontario (/wiki/Category:Female_models_from_Ontario) ‎ (72 P) Pages in category "Models from Ontario" This category contains only the following page. This list may not reflect recent changes (/wiki/Wikipedia:FAQ/Categorization#Why_might_a_category_list_not_be_up_to_date?) . C Frances Coombe (/wiki/Frances_Coombe) esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Category:Models_from_Ontario&oldid=1063490391 (https://en.wikipedia.org/w/index.php?title=Category:Models_from_Ontario&oldid=1063490391) " Categories (/wiki/Help:Category) : Canadian models by province or territory (/wiki/Category:Canadian_models_by_province_or_territory) People from Ontario by occupation (/wiki/Category:People_from_Ontario_by_occupation) Hidden category: CanadaByProvinceCatNav with over 5 grey links (/wiki/Category:CanadaByProvinceCatNav_with_over_5_grey_links)
Lightweight striped silk or cotton cloth Alacha ('lacha' or 'alacha' or 'elatches' or 'alaja', ālājah ) is a lightweight striped (/wiki/Stripe_(pattern)) cloth (/wiki/Textile) made primarily of silk (/wiki/Silk) , sometimes cotton (/wiki/Cotton) , or a mixture (/wiki/Blend_(textile)) of both. The stripe pattern was evident on both sides of the fabric. A typical length of alacha is five yards. [1] (#cite_note-1) It was produced in various parts of India (/wiki/India) , for example Baikunthpur, Bihar (/wiki/Baikunthpur,_Bihar_(Vidhan_Sabha_constituency)) . [2] (#cite_note-2) The cloth was popular in use for female garments such as dupattas (/wiki/Dupatta) ( odhni ), veils (/wiki/Veil) , and petticoats (/wiki/Petticoat) . [3] (#cite_note-:2-3) [4] (#cite_note-:0-4) [5] (#cite_note-:1-5) Etymology [ edit ] François Bernier (/wiki/Fran%C3%A7ois_Bernier) mentions "...alachas were silken stuffs striped". [4] (#cite_note-:0-4) Alacha may be an earlier term used for mashru cloth, derived from the Sanskrit (/wiki/Sanskrit) word alasa meaning "swan-footprint patterned creeper". Yashodhara Agrawal, writing in an essay entitled "Mashru as a Trade Textile", translates khanjari as "dagger"—referring to a single arrowhead motif. Khanjari can also be described as a wavy line pattern. Agrawal notes that alacha or alaja was the word used for this fabric before mashru came into common use. She speculates that alacha could refer to the arrowhead pattern found in many mashru fabrics of Gujarat. She and others point out that the lower garment of Queen Sivali in a painting in the Ajanta Cave One (/w/index.php?title=Ajanta_Cave_One&action=edit&redlink=1) , dating from the fifth century AD, is patterned with warp resist, suggesting that this fabric has been in production for well over a millennia. [6] (#cite_note-6) Texture [ edit ] The texture of alacha was different from Doriya but closer to Charconnaes . Doriya was filmsy. [5] (#cite_note-:1-5) [7] (#cite_note-:3-7) Types [ edit ] Alacha is mainly produced with red and white or blue and white colored stripes. [3] (#cite_note-:2-3) They were originally named after their origin or production towns. The quality was varying with the contents of silk and cotton. Bengal (/wiki/Bengal) alachas were rich in silk and Gujarat (/wiki/Gujarat) alachas were made chiefly with cotton. [5] (#cite_note-:1-5) [7] (#cite_note-:3-7) Alleja was a variation from Turkestan (/wiki/Turkestan) . These were made in the lengths of five yards. It was a patterned cloth with wavy design on both sides of the cloth. [8] (#cite_note-8) [9] (#cite_note-9) Export [ edit ] Alacha was among a noted item of silk goods of East India Company (/wiki/East_India_Company) . Further, Alachas became a severe threat to local manufacturing in England (/wiki/England) , their import was stopped in 1720, and they tried to duplicate the fabric locally. [7] (#cite_note-:3-7) See also [ edit ] Alamode (/wiki/Alamode) Qutni (/wiki/Qutni) Gulbadan (/wiki/Gulbadan_(silk_cloth)) References [ edit ] ^ (#cite_ref-1) Forming ... to the hand-book of the economic products of the Punjab . Engineering College Press. 1872. p. 66. ^ (#cite_ref-2) Indica . Heras Institute of Indian History and Culture, St. Xavier's College. 2005. pp. Volumes 42–43 - Page 58. ^ a b Tortora, Phyllis G.; Johnson, Ingrid (2013-09-17). The Fairchild Books Dictionary of Textiles . A&C Black. p. 10. ISBN (/wiki/ISBN_(identifier)) 978-1-60901-535-0 . ^ a b Sangar, S.P. (1969). "Silk Cloth in the 17th Century" (https://www.jstor.org/stable/44138372) . Proceedings of the Indian History Congress . 31 : 233–240. ISSN (/wiki/ISSN_(identifier)) 2249-1937 (https://www.worldcat.org/issn/2249-1937) . JSTOR (/wiki/JSTOR_(identifier)) 44138372 (https://www.jstor.org/stable/44138372) . ^ a b c Prakash, Om (2014-07-14). The Dutch East India Company and the Economy of Bengal, 1630-1720 . Princeton University Press. pp. 20, 21, 25, 57, 58, 108, 167. ISBN (/wiki/ISBN_(identifier)) 978-1-4008-5776-0 . ^ (#cite_ref-6) Wendy R. Weiss (2018). "Mashru Redux: From the Calico Museum in Ahmedabad to a Loom in the Great Plains" (https://digitalcommons.unl.edu/cgi/viewcontent.cgi?article=2122&context=tsaconf) . Textile Society of America Symposium Proceedings . Retrieved 13 May 2023 . ^ a b c Montgomery, Florence M. (1984). Textiles in America 1650-1870 : a dictionary based on original documents, prints and paintings, commercial records, American merchants' papers, shopkeepers' advertisements, and pattern books with original swatches of cloth . Internet Archive. New York ; London : Norton. p. 143. ISBN (/wiki/ISBN_(identifier)) 978-0-393-01703-8 . ^ (#cite_ref-8) Yule, Henry (1996). Hobson Jobson : the Anglo-Indian dictionary . Internet Archive. Ware : Wordsworth. p. 13. ISBN (/wiki/ISBN_(identifier)) 978-1-85326-363-7 . ^ (#cite_ref-9) Fennell, Charles Augustus Maude (1891). The Stanford Dictionary of Anglicised Words and Phrases . University Press. p. 52. 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Russian fashion model In this name that follows Eastern Slavic naming customs (/wiki/Eastern_Slavic_naming_customs) , the patronymic (/wiki/Patronymic) is Ruslanovna and the family name (/wiki/Surname) is Pimenova . Kristina Pimenova Кристина Пименова Pimenova in 2019 Born Kristina Ruslanovna Pimenova ( 2005-12-27 ) 27 December 2005 (age 18) Moscow, Russia Occupation Fashion model Parent Ruslan Pimenov (/wiki/Ruslan_Pimenov) (father) Modeling information Hair color Brown [1] (#cite_note-Express-1) Eye color Blue [1] (#cite_note-Express-1) Kristina Ruslanovna Pimenova ( Russian (/wiki/Russian_language) : Кристина Руслановна Пименова ; born 27 December 2005) [2] (#cite_note-MK-2) [3] (#cite_note-DireDonna-3) is a Russian fashion model. [4] (#cite_note-Ragazza-4) Life and career [ edit ] Pimenova's parents are former footballer Ruslan Pimenov (/wiki/Ruslan_Pimenov) and former model Glikeriya Shirokova. [5] (#cite_note-Hello-5) Pimenova has an elder sister, Natalia. [1] (#cite_note-Express-1) Kristina Pimenova spent the first few months of her life in France where her father played football for FC Metz. [6] (#cite_note-6) Pimenova started working as a child model before her fourth birthday, after her mother sent photographs to the agency President Kids. [7] (#cite_note-FashionTime-7) Pimenova has worked for brands including Armani (/wiki/Armani) , Benetton (/wiki/Benetton_Group) , Burberry (/wiki/Burberry) , and Roberto Cavalli (/wiki/Roberto_Cavalli) . [7] (#cite_note-FashionTime-7) [8] (#cite_note-Yahoo-8) In 2014, Women Daily magazine called her "the most beautiful girl in the world". [8] (#cite_note-Yahoo-8) In Moscow, Pimenova practiced rhythmic gymnastics (/wiki/Rhythmic_gymnastics) , under Olga Kapranova (/wiki/Olga_Kapranova) . [1] (#cite_note-Express-1) In 2013, she competed in a gymnastics tournament in Tatarstan (/wiki/Tatarstan) organized by Alina Kabaeva (/wiki/Alina_Kabaeva) , winning a gold medal in her age group. [4] (#cite_note-Ragazza-4) In April 2015, she appeared on the cover of Vogue Kids (/wiki/Vogue_(magazine)) . [9] (#cite_note-9) Later in 2015, Pimenova moved to California, USA with her mother. A documentary about Pimenova aired on RTL Television (/wiki/RTL_Television) in October 2016. [10] (#cite_note-RTL-10) Acting [ edit ] Pimenova played a post-production (/wiki/Filmmaking#Post-production) part as a singing child in the Italian fantasy film Creators: The Past (/wiki/Creators:_The_Past) . [11] (#cite_note-CreatorsThePast-11) [12] (#cite_note-Creators-12) In an interview for Posh Kids Magazine , she expressed her wish to become a professional actress and film director. [13] (#cite_note-PoshKids-13) She was subsequently cast for the role of Dasha in Michael S. Ojeda's horror thriller The Russian Bride , co-starring with Corbin Bernsen (/wiki/Corbin_Bernsen) and Oksana Orlan. [14] (#cite_note-PopHorror-14) Criticism [ edit ] When Pimenova's mother managed her social media accounts, there was some criticism of the content as an example of sexualisation (/wiki/Sexual_objectification) of an under-age model. [8] (#cite_note-Yahoo-8) [15] (#cite_note-15) Her mother disagreed, maintaining that all the photos were perfectly innocent and "you must think like a pedophile in order to see something sexual in these pictures". [16] (#cite_note-16) Filmography [ edit ] Title Year Role Director Notes Creators: The Past (/wiki/Creators:_The_Past) 2019 Singing child Piergiuseppe Zaia The Russian Bride (/w/index.php?title=The_Russian_Bride&action=edit&redlink=1) [ ru (https://ru.wikipedia.org/wiki/%D0%A0%D1%83%D1%81%D1%81%D0%BA%D0%B0%D1%8F_%D0%BD%D0%B5%D0%B2%D0%B5%D1%81%D1%82%D0%B0_(%D1%84%D0%B8%D0%BB%D1%8C%D0%BC)) ] 2018 Dasha Michael S. Ojeda References [ edit ] ^ a b c d Dormoy, Géraldine (28 November 2014). "VIDEOS. Kristina Pimenova, 10 ans, topmodèle russe" (http://www.lexpress.fr/styles/mannequins/kristina-pimenova-l-enfant-modele_1627074.html) . L'Express (in French). Archived (https://web.archive.org/web/20141129071510/http://www.lexpress.fr/styles/mannequins/kristina-pimenova-l-enfant-modele_1627074.html) from the original on 29 November 2014 . Retrieved 5 April 2017 . ^ (#cite_ref-MK_2-0) Samodelova, Svetlana (27 November 2014). "Самая красивая девочка мира ходит в обычную московскую школу" (http://www.mk.ru/social/2014/11/27/samaya-krasivaya-devochka-mira-khodit-v-obychnuyu-moskovskuyu-shkolu.html) [=The most beautiful girl in the world goes to a regular school in Moscow] (in Russian). Moskovskij Komsomolets. Archived (https://web.archive.org/web/20170808211908/http://www.mk.ru/social/2014/11/27/samaya-krasivaya-devochka-mira-khodit-v-obychnuyu-moskovskuyu-shkolu.html) from the original on 8 August 2017 . Retrieved 2 March 2017 . ^ (#cite_ref-DireDonna_3-0) Luongo, Marika (22 April 2016). "Kristina: baby modella a soli 9 anni" (http://www.diredonna.it/kristina-baby-modella-a-soli-9-anni-3094745.html) [Kristina: baby model at only nine years] (in Italian). DireDonna. Archived (https://web.archive.org/web/20170805222521/http://www.diredonna.it/kristina-baby-modella-a-soli-9-anni-3094745.html) from the original on 5 August 2017 . Retrieved 6 June 2017 . ^ a b "Kristina Pimenova" (http://ragazza.ru/pub/blizhe_k_zvezdam/kristina_pimenova.html) (in Russian). Ragazza. 5 May 2015. Archived (https://web.archive.org/web/20170808213101/http://ragazza.ru/pub/blizhe_k_zvezdam/kristina_pimenova.html) from the original on 8 August 2017 . Retrieved 7 March 2017 . ^ (#cite_ref-Hello_5-0) Kasyanova, Anna (24 January 2015). "О самой красивой девочкe мира Кристине Пименовой" (http://ru.hellomagazine.com/deti/7817-o-nachale-karery-i-zhizni-vne-podiuma-samoy-krasivoy-devochki-mira-kristiny-pimenovoy.html) [About the most beautiful girl in the world Kristina Pimenova] (in Russian). Hello! Russia. Archived (https://web.archive.org/web/20150128060831/http://ru.hellomagazine.com/deti/7817-o-nachale-karery-i-zhizni-vne-podiuma-samoy-krasivoy-devochki-mira-kristiny-pimenovoy.html) from the original on 28 January 2015 . Retrieved 11 March 2019 . ^ (#cite_ref-6) "Mother insists child supermodel is sheltered from fame" (http://sg.news.yahoo.com/mother-insists-child-supermodel-sheltered-fame-042208303.html) . Yahoo News . 25 December 2014 . Retrieved 5 April 2024 . ^ a b Shipilova, Xenia (3 December 2014). "Кристина Пименова была признана самой красивой девочкой-моделью" (http://www.fashiontime.ru/fashion/news/1236688.html) [Kristina Pimenova has been recognized as the most beautiful girl model] (in Russian). Fashion Time. Archived (https://web.archive.org/web/20170808214134/http://www.fashiontime.ru/fashion/news/1236688.html) from the original on 8 August 2017 . Retrieved 2 March 2017 . ^ a b c Tuck, Lauren (8 December 2014). "Is 8-Year-Old Kristina Pimenova the Most Beautiful Girl in the World?" (https://ca.shine.yahoo.com/is-8-year-old-kristina-pimenova-the-most-beautiful-girl-in-the-world-150943145.html) . Yahoo! Style. Archived (https://archive.today/20160210055735/https://ca.style.yahoo.com/is-8-year-old-kristina-pimenova-the-most-beautiful-girl-in-the-world-150943145.html) from the original on 10 February 2016 . Retrieved 24 February 2015 . ^ (#cite_ref-9) "Cover photo". Vogue Kids Russia . No. April 2015. Vogue (/wiki/Vogue_(magazine)) . March 2015. ^ (#cite_ref-RTL_10-0) Von Schimmelmann, Bettina (30 October 2016). RTL Exclusiv Weekend (in German). RTL. ^ (#cite_ref-CreatorsThePast_11-0) "Film actors" (https://web.archive.org/web/20170806062544/http://www.creatorsmovie.it/en/#actors) . creatorsmovie.it. Archived from the original (http://www.creatorsmovie.it/en/#actors) on 6 August 2017 . Retrieved 14 January 2017 . ^ (#cite_ref-Creators_12-0) Guabello, Paola (1 April 2016). "Finite le riprese di "Creators" il trailer è pronto per Cannes" (http://www.lastampa.it/2016/04/01/edizioni/biella/finite-le-riprese-di-creators-il-trailer-pronto-per-cannes-hi2549Fqo8GAkA6zu101hL/pagina.html) . La Stampa (in Italian). Archived (https://web.archive.org/web/20160414160428/http://www.lastampa.it/2016/04/01/edizioni/biella/finite-le-riprese-di-creators-il-trailer-pronto-per-cannes-hi2549Fqo8GAkA6zu101hL/pagina.html) from the original on 14 April 2016 . Retrieved 5 April 2017 . ^ (#cite_ref-PoshKids_13-0) Mejia, Anny (27 November 2016). "Posh Kids Magazine: Kristina Pimenova" (http://www.magcloud.com/browse/issue/1199837?__r=640057) . Posh Kids Magazine . ^ (#cite_ref-PopHorror_14-0) "Immediate Release Of Sensational Thriller, 'The Russian Bride' (2019)" (https://www.pophorror.com/immediate-release-of-sensational-thriller-the-russian-bride-2019) . PopHorror.com. 16 March 2019. Archived (https://web.archive.org/web/20190707173359/https://www.pophorror.com/immediate-release-of-sensational-thriller-the-russian-bride-2019) from the original on 7 July 2019 . Retrieved 7 July 2019 . ^ (#cite_ref-15) O'Neil, Lauren (28 November 2014). "Controversial 9-year-old supermodel Kristina Pimenova is being sexualized, critics say" (http://www.cbc.ca/newsblogs/yourcommunity/2014/11/controversial-9-year-old-supermodel-kristina-pimenova-is-being-sexualized-critics-say.html) . CBC (Community Blog) . Archived (https://web.archive.org/web/20170530060757/http://www.cbc.ca/newsblogs/yourcommunity/2014/11/controversial-9-year-old-supermodel-kristina-pimenova-is-being-sexualized-critics-say.html) from the original on 30 May 2017 . Retrieved 22 May 2017 . ^ (#cite_ref-16) Rees, Alex (5 December 2014). "Child Model's Mother to Her Daughter's Critics: "You Must Think Like a Pedophile" (http://www.cosmopolitan.com/style-beauty/fashion/news/a33944/child-models-mother-slams-sexualized-critics/) " (http://www.cosmopolitan.com/style-beauty/fashion/news/a33944/child-models-mother-slams-sexualized-critics/) . Cosmopolitan . Archived (https://web.archive.org/web/20171013020533/http://www.cosmopolitan.com/style-beauty/fashion/news/a33944/child-models-mother-slams-sexualized-critics/) from the original on 13 October 2017 . Retrieved 30 May 2017 . External links [ edit ] Russia portal (/wiki/Portal:Russia) United States portal (/wiki/Portal:United_States) Wikimedia Commons has media related to Kristina Pimenova (https://commons.wikimedia.org/wiki/Category:Kristina_Pimenova) . Kristina Pimenova (https://www.imdb.com/name/nm7743796/) at IMDb (/wiki/IMDb_(identifier)) NewPP limit report Parsed by mw‐web.codfw.canary‐6b76898595‐lmxsc Cached time: 20240720170837 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.459 seconds Real time usage: 0.644 seconds Preprocessor visited node count: 3161/1000000 Post‐expand include size: 50984/2097152 bytes Template argument size: 3106/2097152 bytes Highest expansion depth: 14/100 Expensive parser function count: 5/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 70060/5000000 bytes Lua time usage: 0.334/10.000 seconds Lua memory usage: 17521317/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 612.571 1 -total 25.49% 156.158 1 Template:Reflist 22.77% 139.505 1 Template:Infobox_model 13.45% 82.409 2 Template:Cite_news 12.65% 77.479 1 Template:Lang-ru 12.63% 77.352 1 Template:Short_description 10.13% 62.066 1 Template:Commons_category 9.84% 60.256 1 Template:Sister_project 9.58% 58.659 1 Template:Side_box 7.46% 45.685 2 Template:If_then_show Saved in parser cache with key enwiki:pcache:idhash:52055356-0!canonical and timestamp 20240720170837 and revision id 1224015970. Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Kristina_Pimenova&oldid=1224015970 (https://en.wikipedia.org/w/index.php?title=Kristina_Pimenova&oldid=1224015970) " Categories (/wiki/Help:Category) : 2005 births (/wiki/Category:2005_births) 21st-century Russian actresses (/wiki/Category:21st-century_Russian_actresses) Actresses from California (/wiki/Category:Actresses_from_California) Child models (/wiki/Category:Child_models) Russian female models (/wiki/Category:Russian_female_models) Russian models (/wiki/Category:Russian_models) Russian film actresses (/wiki/Category:Russian_film_actresses) Living people (/wiki/Category:Living_people) Female models from Moscow (/wiki/Category:Female_models_from_Moscow) Russian child actresses (/wiki/Category:Russian_child_actresses) 21st-century American women (/wiki/Category:21st-century_American_women) Russian expatriates in the United States (/wiki/Category:Russian_expatriates_in_the_United_States) Hidden categories: CS1 French-language sources (fr) (/wiki/Category:CS1_French-language_sources_(fr)) CS1 Russian-language sources (ru) (/wiki/Category:CS1_Russian-language_sources_(ru)) CS1 Italian-language sources (it) (/wiki/Category:CS1_Italian-language_sources_(it)) CS1 German-language sources (de) (/wiki/Category:CS1_German-language_sources_(de)) Articles with short description (/wiki/Category:Articles_with_short_description) Short description is different from Wikidata (/wiki/Category:Short_description_is_different_from_Wikidata) Use dmy dates from January 2022 (/wiki/Category:Use_dmy_dates_from_January_2022) Articles with hCards (/wiki/Category:Articles_with_hCards) Articles containing Russian-language text (/wiki/Category:Articles_containing_Russian-language_text) Commons category link from Wikidata (/wiki/Category:Commons_category_link_from_Wikidata)
Lore Kadden Lindenfeld (April 27, 1921 – April 8, 2010) was a German-American textile designer. She taught visual arts at Middlesex County College (/wiki/Middlesex_County_College) . Her work has been exhibited in group and solo exhibitions internationally. [1] (#cite_note-BMC_bio-1) [2] (#cite_note-Obit-2) Life and education [ edit ] Lore Kadden Lindenfeld was born in Wuppertal, Germany (/wiki/Wuppertal,_Germany) , to parents Frieda and Alfred Kadden. She attended school at the Art Academy in Düsseldorf (/wiki/D%C3%BCsseldorf) , where she studied fashion design; however, she was shortly forced to flee to the Netherlands due to Nazi rule. A year later, her family moved to the United States where she began a living as a seamstress and salesperson. Lore took classes at Harvard and attended the Institute for Social Progress at Wellesley College (/wiki/Wellesley_College) as well. From 1945 to 1948 she attended Black Mountain College (/wiki/Black_Mountain_College) , graduating with a degree in Weaving and Textile Design. She earned a master's degree in Creative Arts Education from Rutgers University (/wiki/Rutgers_University) in 1982. [1] (#cite_note-BMC_bio-1) Career [ edit ] Lore's first post-graduate employment was as a design assistant in a textile plant in New York (/wiki/New_York_(state)) where she helped design women's coats and dresses. [2] (#cite_note-Obit-2) She was one of the first women to become an industrial textile designer. [3] (#cite_note-3) She then became a designer for Kanmak Textiles. Lore soon devoted her time raising her two children and as an independent weaver, creating pieces that represented her founded knowledge of patterns, colors, and designs. [1] (#cite_note-BMC_bio-1) [4] (#cite_note-BMC_resume-4) She started the weaving department and was a faculty member in the Visual Arts department at Middlesex County College from 1968 to 1986 and taught weaving at the Princeton Adult School for many years. Artistic significance [ edit ] Lore focused primarily on weaving and fiber designs, using plastic raffia and wool fibers or ribbons. [1] (#cite_note-BMC_bio-1) She also created some pieces using paper and ink. Her work has made appearances in exhibits throughout the world, and her work is held in the collections of the Black Mountain College Museum + Arts Center (/wiki/Black_Mountain_College_Museum_%2B_Arts_Center) , the Fashion Institute of Technology (/wiki/Fashion_Institute_of_Technology) , the Josef and Anni Albers Foundation, the Museum of Arts and Design (/wiki/Museum_of_Arts_and_Design) , the National Museum of American Art (/wiki/Smithsonian_American_Art_Museum) , the Newark Museum of Art (/wiki/The_Newark_Museum_of_Art) , the New Jersey State Museum (/wiki/New_Jersey_State_Museum) , Rider University (/wiki/Rider_University) Art Collection, the Paley Design Center, and in private collections. [2] (#cite_note-Obit-2) [4] (#cite_note-BMC_resume-4) Major works [ edit ] Totem. 1981, wool, ribbons, plastic, raffia [5] (#cite_note-5) Triptych. 1982, wool, nylon, netting, plastic raffia [6] (#cite_note-6) Sado Island. 1991, polyester, Japanese paper, netting, yarn stitching and drawing [7] (#cite_note-7) Sado Island, Remembered Images. 1994, polyester, Japanese paper, netting, ink stitching, and drawing [8] (#cite_note-8) Patterns of Growth. 1998 [9] (#cite_note-9) Transparent Forest. 1999 [10] (#cite_note-10) Solo exhibitions [ edit ] Lore Lindenfeld, A Journey in Fiberarts , Princeton Day School, Princeton, NJ, 1999 [11] (#cite_note-11) Lore Kadden Lindenfeld: A Life in Textiles, Black Mountain College Museum + Arts Center (/wiki/Black_Mountain_College_Museum_%2B_Arts_Center) , Asheville, North Carolina, 1997 Fibergraphics: Remembered Images, Newark Museum of Art (/wiki/The_Newark_Museum_of_Art) , 1993 [1] (#cite_note-BMC_bio-1) Dialogue: Lindenfeld + Lindenfeld at ArtisTree, South Pomfret, Vermont [12] (#cite_note-12) Fiber Collage , Bargeron Gallery, Washington Crossing, PA, 1990 Places, Spaces, and Seasons , Rider University (/wiki/Rider_University) , Lawrenceville, NJ, 1988 Perception in Fiber , New Jersey State Museum (/wiki/New_Jersey_State_Museum) , Trenton, NJ, 1984 Woven Tapestries , Walters Art Gallery, Rutgers University, New Brunswick, NJ; and Henry Chauncey Conference Center, Princeton, NJ, 1982 American Craft Gallery (later Hadler Gallery), New York, NY (with Marion Levinston), 1974 New Jersey State Museum (/wiki/New_Jersey_State_Museum) , Trenton, NJ (with Marion Levinston), 1973 [4] (#cite_note-BMC_resume-4) References [ edit ] ^ a b c d e "Lore Kadden Lindenfeld" (https://blackmountaincollegeproject.org/Biographies/KaddenLindenfeldLore/Kadden%20Lindenfeld,%20Lore.htm) . Black Mountain College Project . Retrieved March 18, 2017 . ^ a b c "Lore Kadden Lindenfeld" (http://obits.nj.com/obituaries/trenton/obituary.aspx?n=lore-lindenfeld&pid=142027340) . Obituaries. The Times . Princeton, New Jersey. April 20, 2010 . Retrieved March 18, 2017 . ^ (#cite_ref-3) Benson, Julia (2003). "Weaving at the Bauhaus: Origins and Influences" (https://artofthefirebird.com/wp-content/uploads/2013/11/Bauhaus.pdf) (PDF) . p. 23. ^ a b c "Lore Kadden Lindenfeld, resume" (http://blackmountaincollegeproject.org/Biographies/KaddenLindenfeldLore/kaddenlindenfeldRESUME.htm) . Black Mountain College Project . Retrieved March 17, 2017 . ^ (#cite_ref-5) "Totem" (http://blackmountaincollegeproject.org/Biographies/KaddenLindenfeldLore/KaddenLindenfeldTotemDetail.htm) . Black Mountain College Project . Retrieved March 18, 2017 . ^ (#cite_ref-6) "Triptych" (http://blackmountaincollegeproject.org/Biographies/KaddenLindenfeldLore/KaddenLindenfeldTriptych.htm) . Black Mountain College Project . Retrieved March 18, 2017 . ^ (#cite_ref-7) "Sado Island" (http://blackmountaincollegeproject.org/Biographies/KaddenLindenfeldLore/KaddenLindenfeldSado2.htm) . Black Mountain College Project . Retrieved March 18, 2017 . ^ (#cite_ref-8) "Sado Island, Remembered Images" (http://blackmountaincollegeproject.org/Biographies/KaddenLindenfeldLore/KaddenLindenfeldSado.htm) . Black Mountain College Project . Retrieved March 18, 2017 . ^ (#cite_ref-9) "Patterns of Growth" (http://blackmountaincollegeproject.org/Biographies/KaddenLindenfeldLore/KaddenLindenfeldPatterns.htm) . Black Mountain College Project . Retrieved March 18, 2017 . ^ (#cite_ref-10) "Transparent Forest" (http://blackmountaincollegeproject.org/Biographies/KaddenLindenfeldLore/KaddenLindenfeldForest.htm) . Black Mountain College Project . Retrieved March 18, 2017 . ^ (#cite_ref-11) "Lore Lindenfeld « Artists « Yvette Torres Fine Art" (http://yvettetorresfineart.com/artists/128/lore_lindenfeld#bio) . yvettetorresfineart.com . Retrieved 2020-03-17 . ^ (#cite_ref-12) "Dialogue: Lindenfeld + Lindenfeld" (https://artistreevt.org/dialogue-lindenfeld-lindenfeld.html) . Artistree . Retrieved 2020-03-17 . Authority control databases (/wiki/Help:Authority_control) International FAST (http://id.worldcat.org/fast/398803/) ISNI (https://isni.org/isni/0000000041558052) VIAF (https://viaf.org/viaf/56219707) WorldCat (https://id.oclc.org/worldcat/entity/E39PBJrwXH8jW7w7GqYcK3wcT3) National United States (https://id.loc.gov/authorities/no97060118) Artists RKD Artists (https://rkd.nl/en/explore/artists/305635) ULAN (https://www.getty.edu/vow/ULANFullDisplay?find=&role=&nation=&subjectid=500069111) Other IdRef (https://www.idref.fr/249225883) NewPP limit report Parsed by mw‐web.codfw.main‐bdcc7b545‐fcjbm Cached time: 20240715192311 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.253 seconds Real time usage: 0.301 seconds Preprocessor visited node count: 590/1000000 Post‐expand include size: 23305/2097152 bytes Template argument size: 86/2097152 bytes Highest expansion depth: 8/100 Expensive parser function count: 9/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 48939/5000000 bytes Lua time usage: 0.180/10.000 seconds Lua memory usage: 3702469/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 267.325 1 -total 59.63% 159.402 1 Template:Reflist 47.78% 127.739 11 Template:Cite_web 40.34% 107.850 1 Template:Authority_control 2.37% 6.338 1 Template:Cite_news 0.72% 1.914 1 Template:Main_other Saved in parser cache with key enwiki:pcache:idhash:53522987-0!canonical and timestamp 20240715192311 and revision id 1171706266. 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Apparel company Wildfang Industry Apparel/Clothing/Fashion Founder Emma Mcilroy (/w/index.php?title=Emma_Mcilroy&action=edit&redlink=1) Headquarters Portland, Oregon (/wiki/Portland,_Oregon) Key people Taralyn Thuot, Creative Director Products Clothing for all Website www (http://www.wildfang.com/) .wildfang (http://www.wildfang.com/) .com (http://www.wildfang.com/) Shop in downtown Portland, Oregon, with a window display for the Drag-a-thon (/wiki/Drag-a-thon) event produced by Wildfang in 2023 Wildfang is a Portland, Oregon (/wiki/Portland,_Oregon) -based queer (/wiki/Queer) -friendly [1] (#cite_note-lamag.com-1) apparel company known for its untraditional approach to gender norms. [2] (#cite_note-2) The company was co-founded in 2012 by Emma Mcilroy, [3] (#cite_note-3) Taralyn Thuot and Julia Parsley, who previously worked at Nike, Inc. (/wiki/Nike,_Inc.) [4] (#cite_note-4) [5] (#cite_note-5) [6] (#cite_note-6) [7] (#cite_note-7) The business operates a shop in downtown Portland. [8] (#cite_note-8) History [ edit ] In 2018, Wildfang created a collection of t-shirts and a bomber jacket with the tagline, "I Really Care, Don't U?". This was in response to the "I Really Don't Care, Do U?" jacket worn by Melania Trump (/wiki/Melania_Trump) on her trip to visit immigrant children at a detention center. All proceeds from the sales of the tag-lined items went to a charitable organization, Refugee and Immigrant Center for Education and Legal Services (/wiki/Refugee_and_Immigrant_Center_for_Education_and_Legal_Services) . [1] (#cite_note-lamag.com-1) In February 2020, Wildfang filed a lawsuit against Target Corporation (/wiki/Target_Corporation) alleging that its Wild Fable clothing line infringed on Wildfang's company trademark. In the lawsuit, Wildfang asks that Target stop selling its Wild Fable line, and that profits from the sale of its merchandise be transferred to Wildfang. [9] (#cite_note-wweek.com-9) In July 2023, Wildfang produced Drag-a-thon (/wiki/Drag-a-thon) , an event that achieved a Guinness World Records (/wiki/Guinness_World_Records) certification for the longest running drag show (/wiki/Drag_show) and raised over $290,000 for The Trevor Project (/wiki/The_Trevor_Project) . [10] (#cite_note-nbcnews.com-10) References [ edit ] ^ Jump up to: a b Martin, Brittany (30 July 2018). "The Activist Clothing Line Behind a Melania Jacket Clapback Opens a Pop-Up in L.A." (https://www.lamag.com/lalifeandstyle/wildfang-pop-up/) Los Angeles Magazine (/wiki/Los_Angeles_Magazine) . Retrieved 6 July 2023 . ^ (#cite_ref-2) "Pride backlash derailed retailers, but LGBT designers are more empowered than ever" (https://www.independent.co.uk/life-style/fashion/pride-target-collection-controversy-b2362536.html) . The Independent . 2023-06-23 . Retrieved 2023-07-13 . ^ (#cite_ref-3) https://www.redbull.com/gb-en/mavens-emma-mcilroy (https://www.redbull.com/gb-en/mavens-emma-mcilroy) \|Red Bull interviews Wildfang founder and CEO Emma McIlroy ^ (#cite_ref-4) "Former Nike employees create 'Wildfang,' online retailer. store" (http://www.oregonlive.com/portland/index.ssf/2013/03/former_nike_employees_create_w.html) . Oregon Live . Retrieved 5 March 2014 . ^ (#cite_ref-5) "Wildfang Co-Founder Emma Mcilroy Talks Rihanna, Music Inspiration, And Tomboy Style" (https://web.archive.org/web/20131017162357/http://style.mtv.com/2013/10/17/wildfang-tomboy-style-emma-mcilroy/) . MTV. Archived from the original (http://style.mtv.com/2013/10/17/wildfang-tomboy-style-emma-mcilroy/) on October 17, 2013 . Retrieved 5 March 2014 . ^ (#cite_ref-6) "Hot startup Wildfang launches first collection (Photos)" (http://www.bizjournals.com/portland/blog/threads_and_laces/2013/11/hot-startup-wildfang-first-collection.html) . Portland Business Journal. November 22, 2013 . Retrieved 5 March 2014 . ^ (#cite_ref-7) "WATCH: Kate Moennig & Hannah Blilie For Wildfang" (http://www.out.com/fashion/truman-says/2013/05/29/kate-moennig-hannah-blilie-gossip-wildfang) . Out Magazine . Retrieved 5 March 2014 . ^ (#cite_ref-8) "Portland business owners frustrated over indiscriminate vandalism" (https://www.opb.org/article/2020/11/05/property-damage-downtown-portland-small-business/) . Oregon Public Broadcasting . Retrieved 2023-07-13 . ^ (#cite_ref-wweek.com_9-0) Riski, Tess (6 February 2020). "Portland Clothing Company Wildfang Sues Target's "Wild Fable" Line for Trademark Infringement" (https://www.wweek.com/news/courts/2020/02/06/portland-clothing-company-wildfang-sues-targets-wild-fable-line-for-trademark-infringement/) . Willamette Week (/wiki/Willamette_Week) . Retrieved 6 July 2023 . ^ (#cite_ref-nbcnews.com_10-0) Tran, Emi Tuyetnhi (13 July 2023). " (https://www.nbcnews.com/nbc-out/out-pop-culture/drag-thon-portland-oregon-claims-world-record-longest-drag-show-rcna94066) 'Drag-a-thon' in Portland, Oregon, claims world record for longest drag show" (https://www.nbcnews.com/nbc-out/out-pop-culture/drag-thon-portland-oregon-claims-world-record-longest-drag-show-rcna94066) . NBC News (/wiki/NBC_News) . Retrieved 18 July 2023 . External links [ edit ] Official website (http://www.wildfang.com/) NewPP limit report Parsed by mw‐web.codfw.main‐5486b6fcc7‐ppmn7 Cached time: 20240627224401 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1] CPU time usage: 0.371 seconds Real time usage: 0.617 seconds Preprocessor visited node count: 1548/1000000 Post‐expand include size: 22075/2097152 bytes Template argument size: 1056/2097152 bytes Highest expansion depth: 13/100 Expensive parser function count: 1/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 36076/5000000 bytes Lua time usage: 0.238/10.000 seconds Lua memory usage: 5108876/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 423.900 1 -total 45.51% 192.906 1 Template:Reflist 31.49% 133.484 3 Template:Cite_news 31.39% 133.060 1 Template:Infobox_company 28.13% 119.261 1 Template:Infobox 19.81% 83.966 1 Template:Short_description 11.37% 48.203 2 Template:Pagetype 7.88% 33.385 6 Template:Cite_web 5.39% 22.840 8 Template:Main_other 4.47% 18.956 1 Template:SDcat Saved in parser cache with key enwiki:pcache:idhash:42122686-0!canonical and timestamp 20240627224401 and revision id 1231373418. 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Overview of the culture of Gilgit-Baltistan (Pakistan) Gilgit-Baltistan (/wiki/Gilgit-Baltistan) is inherited by people from different sects and they have a diversity of their culture, customs and traditions. The cultural heritage of Gilgit-Baltistan , Pakistan manifests itself in local traditions, music and local dress. Polo is the most popular sport in Gilgit-Baltistan. [1] (#cite_note-1) Dress [ edit ] The traditional hat The dress plays a central role in the identity of a person. Traditional clothing of the region is influenced by local culture, geography and weather. Men's dress [ edit ] Male members of Gilgit Baltistan wear different stuff of woollen caps they consider it as an honour for them. Men usually wear: Woollen hat Shalwar kameez (/wiki/Shalwar_kameez) Woollen robe with long or short sleeve [2] (#cite_note-pamirtimes.net-2) Women's dress [ edit ] The traditional cap The most elegant part of women's dress is the traditional cap. Various types of caps are used. The most popular cap is the beautiful embroidered (/wiki/Embroidery) Iraghi cap with the traditional piece of the jewel called silsila. Many other types of caps are used in various regions. [2] (#cite_note-pamirtimes.net-2) The customs of wearing caps is also common in Gilgit Baltistan, especially during events like bridal makeup. Women usually wear: Iraghi cap (/wiki/Iraghi_(hat)) Loose shalwar kameez Colorful frock (/wiki/Frock) [2] (#cite_note-pamirtimes.net-2) Cap [ edit ] The traditional cap of Gilgit Baltistan has played a major role in defining the identity of people of Gilgit Baltistan. The cap has different names in major local languages. In Shina (/wiki/Shina_language) and Khowar languages (/wiki/Khowar_language) the cap is called Khoi; in Burushaski (/wiki/Burushaski) , Phartsun or Pharsen; and in Wakhi (/wiki/Wakhi_language) , Sekeed. The cap's design is slightly different in Baltistan (/wiki/Baltistan) and is called Nating in Balti (/wiki/Balti_language) . [2] (#cite_note-pamirtimes.net-2) The traditional hat of Gilgit-Baltistan is a soft, round-topped, men's hat, typically made of wool and found in a variety of earthy colours: brown, black, grey, or ivory. Before it is fitted and worn, the traditional hat resembles a bag with a round, flat bottom. The wearer rolls up the sides nearly to the top, forming a thick band, which then rests on the head like a beret or cap. [3] (#cite_note-3) Design of Cap [ edit ] The traditional cap is a soft round topped woollen hat. Made by local artisans, it is available in various colours. Whitecaps are most popular in the region and considered a part of the formal local dress. In many areas, people especially of the older generation, still wear the traditional cap all the time with pride. They consider it a sign of honour. [2] (#cite_note-pamirtimes.net-2) The most striking feature of the cap is the duck plume and the feather is stuck in front or side of the cap. It gives a very elegant look to the cap. It is considered a part of the formal dress cap and is used in groom's dress. [2] (#cite_note-pamirtimes.net-2) References [ edit ] ^ (#cite_ref-1) Zec, Dejan; Paunović, Miloš (2021-04-02), "Yugoslav football and British popular culture 1975–1991" (https://dx.doi.org/10.4324/9781003002604-12) , Football and Popular Culture , Routledge, pp. 125–139 , retrieved 2023-09-14 ^ a b c d e f "Traditional women's dresses of Gilgit-Baltistan – PAMIR TIMES" (https://pamirtimes.net/2017/04/29/traditional-womens-dress-of-gilgit-baltistan/) . Pamirtimes.net . Retrieved 2018-05-02 . ^ (#cite_ref-3) "History and origin of the traditional hat of Gilgit-Baltistan – PAMIR TIMES" (https://pamirtimes.net/2015/11/29/history-and-origin-of-the-traditional-hat-of-gilgit-baltistan/) . Pamirtimes.net . Retrieved 2018-05-02 . 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Sri Lankan apparel manufacturing company Brandix Apparel Limited Native name බ්‍රැන්ඩික්ස් Company type Private (/wiki/Private_company) Industry Manufacturing (/wiki/Manufacturing) , fashion (/wiki/Fashion) Founded 1969 ; 55 years ago ( 1969 ) in Colombo, Sri Lanka (/wiki/Colombo,_Sri_Lanka) Founder M. H. Omar [1] (#cite_note-1) Headquarters Colombo , Sri Lanka Area served Worldwide Key people Priyan Fernando ( Chairman (/wiki/Chairman) ) [2] (#cite_note-2) Ashroff Omar ( CEO (/wiki/Chief_Executive_Officer) ) Products Casualwear Intimatewear Sleep and loungewear Activewear [3] (#cite_note-3) Revenue US$ 820 million (2020–21) [4] (#cite_note-4) Number of employees 60,000+ [5] (#cite_note-5) Subsidiaries (/wiki/Subsidiary) Moose Clothing Company [6] (#cite_note-6) Website brandix (https://brandix.com) .com (https://brandix.com) Brandix Apparel Limited is an apparel manufacturer headquartered in Sri Lanka. It is considered to be the leading apparel manufacturing (/wiki/Clothing_industry) firm in the country. [ citation needed ] [7] (#cite_note-7) [8] (#cite_note-:0-8) The company has branches in the United States of America, United Kingdom, Australia, Singapore, Hong Kong, India, Bangladesh, Cambodia, Mauritius, and the Cayman Islands. Brandix has a crucial role in the Sri Lankan economy (/wiki/Economy_of_Sri_Lanka) by being the main contributor to the Gross Domestic Production (/wiki/Gross_domestic_product) . [ dubious – discuss (/wiki/Talk:Brandix#Dubious) ] [ citation needed ] It is the single largest employer in Sri Lanka's export sector and the highest foreign exchange earning company. [9] (#cite_note-9) [ citation needed ] History [ edit ] Brandix was founded in Sri Lanka in 1969 with the assistance of Martin Trust (/wiki/Martin_Trust) , an American who is regarded as the father of the modern apparel industry in Sri Lanka (/wiki/Apparel_industry_of_Sri_Lanka) . [10] (#cite_note-10) The company began operations in 1972 as a conglomerate which was formally a part of Omar Group. The business was incorporated as a private limited company in 2002 under the Companies Act No 7 of 2007 as Brandix Pvt Ltd. In 2008, the firm opened a branch in Seeduwa (/wiki/Seeduwa) and the branch of the Brandix firm secured the world's first LEED (Leadership in Energy and Environmental Design) platinum certification. [11] (#cite_note-11) The company is headquartered in Colombo (/wiki/Colombo) and has domestic branches in Seeduwa (/wiki/Seeduwa) , Mirigama (/wiki/Mirigama) , Batticaloa (/wiki/Batticaloa) and Pannala (/wiki/Pannala) In 2009, the company was recognised by the Ceylon Chamber of Commerce as one of the top 10 best corporate companies in the country. Brandix also became the first apparel firm in the world to obtain the ISO (/wiki/International_Organization_for_Standards) ISO 50001 (/wiki/ISO_50001) standard system certification scheme in 2011. [8] (#cite_note-:0-8) [12] (#cite_note-12) The company has also shown significant interest towards sustainability and the company has also aimed to reach 100 percent carbon neutrality (/wiki/Carbon_neutrality) by 2023 as a part of sustainable development programme. [13] (#cite_note-13) [14] (#cite_note-14) In June 2019, the Batticaloa branch became the first factory in the world to achieve Net Zero Carbon status. [15] (#cite_note-15) [16] (#cite_note-16) [17] (#cite_note-17) [18] (#cite_note-18) Brandix Lanka Group received the Exporter of the Year Award at the 2018/19 National Export Awards from the Export Development Board. [19] (#cite_note-ceo-19) Ashroff Omar is the company's CEO. [19] (#cite_note-ceo-19) References [ edit ] ^ (#cite_ref-1) http://businesstoday.lk/pdf/jan_2017/Brandix-dedicates-its%20Head-Office-to-Deshamanya-Ken-Balendra.pdf (http://businesstoday.lk/pdf/jan_2017/Brandix-dedicates-its%20Head-Office-to-Deshamanya-Ken-Balendra.pdf) [ bare URL PDF ] ^ (#cite_ref-2) "Priyan Fernando succeeds Ken Balendra as Brandix chairman" (http://www.ft.lk/article/150280/Priyan-Fernando-succeeds-Ken-Balendra-as-Brandix-Chairman) . Daily FT . Retrieved 2019-11-01 . ^ (#cite_ref-3) "Apparel Manufacture" (https://www.brandix.com/inspired-solutions/what-we-do/apparel-manufacture) . ^ (#cite_ref-4) "Brandix Sustainability Report 2020-21" (https://brandix.com/images/brandix-sustainability-report-2020-21.pdf) (PDF) . Brandix . Retrieved 17 February 2023 . ^ (#cite_ref-5) "Brandix & CINEC launch BCCE: A new facility to enhance employee training \| Daily FT" (http://www.ft.lk/hr/Brandix---CINEC-launch-BCCE--a-new-facility-to-enhance-employee-training/47-659981) . ^ (#cite_ref-6) Nawaz, Althaf (26 March 2022). "Moose Clothing and Lanka Hospitals boost for Havelocks Sports Club Rugby" (https://www.dailynews.lk/2022/03/26/sports/275712/moose-clothing-and-lanka-hospitals-boost-havelocks-sports-club-rugby) . Daily News (/wiki/Daily_News_(Sri_Lanka)) . Associated Newspapers of Ceylon Limited (/wiki/Associated_Newspapers_of_Ceylon_Limited) . Retrieved 17 April 2023 . ^ (#cite_ref-7) "BRANDIX LANKA LTD" (https://web.archive.org/web/20190124125311/http://www.srilankabusiness.com/exporters-directory/brandix-lanka-ltd-1791.html) . www.srilankabusiness.com . Archived from the original (http://www.srilankabusiness.com/exporters-directory/brandix-lanka-ltd-1791.html) on 2019-01-24 . Retrieved 2019-11-01 . ^ a b "Brandix" (https://brandix.com/) . brandix.com . Retrieved 2019-11-01 . ^ (#cite_ref-9) "Brandix ranked Sri Lanka's largest apparel exporter by EDB" (http://www.sundaytimes.lk/070401/FinancialTimes/ft316.html) . www.sundaytimes.lk . Retrieved 2019-11-01 . ^ (#cite_ref-10) Tukatech (26 May 2012). "From Inspiration to Innovation, The Brandix Way" (https://tukatech.com/customer-spotlight/brandix-casualwear-software-for-fashion/) . Tukatech . Retrieved 2019-11-01 . ^ (#cite_ref-11) "Brandix secures highest LEED Platinum Rating in Sri Lanka" (http://www.sundaytimes.lk/190303/business-times/brandix-secures-highest-leed-platinum-rating-in-sri-lanka-338627.html) . The Sunday Times Sri Lanka . Retrieved 2019-11-01 . ^ (#cite_ref-12) "BUSINESS TODAY -Brandix First Apparel Maker In The World To Get ISO 50001" (https://web.archive.org/web/20111127070234/http://www.businesstoday.lk/article.php?article=3560) . www.businesstoday.lk . Archived from the original (http://www.businesstoday.lk/article.php?article=3560) on 2011-11-27 . Retrieved 2019-11-01 . ^ (#cite_ref-13) "Brandix inspires sustainable solutions to develop Sri Lanka \| Daily FT" (http://www.ft.lk/business/Brandix-inspires-sustainable-solutions-to-develop-Sri-Lanka/34-683611) . www.ft.lk . Retrieved 2019-11-01 . ^ (#cite_ref-14) "Brandix to achieve 100% carbon neutrality by 2023" (https://archives1.sundayobserver.lk/2019/08/11/business/brandix-achieve-100-carbon-neutrality-2023) . Sunday Observer . 2019-08-10 . Retrieved 2019-11-01 . ^ (#cite_ref-15) "Sri Lankan apparel factory becomes world's first in "Net Zero Carbon" status - Xinhua \| English.news.cn" (https://web.archive.org/web/20190607115223/http://www.xinhuanet.com/english/2019-06/06/c_138122149.htm) . www.xinhuanet.com . Archived from the original (http://www.xinhuanet.com/english/2019-06/06/c_138122149.htm) on June 7, 2019 . Retrieved 2019-11-01 . ^ (#cite_ref-16) Styles, David. "Sri Lanka firm claims 'Net Zero Carbon' first" (https://www.ecotextile.com/2019061024385/materials-production-news/sri-lanka-firm-claims-net-zero-carbon-first.html) . Ecotextile News . Retrieved 2019-11-01 . ^ (#cite_ref-17) Donaldson, Tara (2019-06-07). "Brandix Becomes World's First Net Zero Carbon Apparel Manufacturer" (https://sourcingjournal.com/topics/sourcing/brandix-worlds-first-net-zero-carbon-apparel-manufacturer-155392/) . Sourcing Journal . Retrieved 2019-11-01 . ^ (#cite_ref-18) "Brandix world's first to achieve Net Zero Carbon Status for a manufacturing facility" (http://www.sundaytimes.lk/190609/business-times/brandix-worlds-first-to-achieve-net-zero-carbon-status-for-a-manufacturing-facility-352404.html) . The Sunday Times Sri Lanka . Retrieved 2019-11-01 . ^ a b "Brandix receives 'Exporter of the Year' award" (https://archives1.sundayobserver.lk/2019/09/22/brandix-receives-%E2%80%98exporter-year%E2%80%99-award) . Sunday Observer . 2019-09-21 . Retrieved 2019-11-01 . 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American fashion designer This biography of a living person (/wiki/Wikipedia:Biographies_of_living_persons) needs additional citations (/wiki/Wikipedia:Citing_sources) for verification (/wiki/Wikipedia:Verifiability) . Please help by adding reliable sources (/wiki/Wikipedia:Reliable_sources) . Contentious material (/wiki/Wikipedia:BLPREMOVE) about living persons that is unsourced or poorly sourced (/wiki/Wikipedia:QUESTIONABLE) must be removed immediately from the article and its talk page, especially if potentially libelous (/wiki/Wikipedia:Libel) . Find sources: "Chris Benz" (https://www.google.com/search?as_eq=wikipedia&q=%22Chris+Benz%22) – news (https://www.google.com/search?tbm=nws&q=%22Chris+Benz%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Chris+Benz%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Chris+Benz%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Chris+Benz%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Chris+Benz%22&acc=on&wc=on) ( March 2013 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Chris Benz Born 1982 (age 41–42) Seattle, Washington (/wiki/Seattle,_Washington) Education Parsons The New School for Design (/wiki/Parsons_The_New_School_for_Design) Label Chris Benz Awards CFDA (/wiki/Council_of_Fashion_Designers_of_America) : Emerging Talent Award & Scholarship (2003);1st Annual FICA Emerging Fur Designer of the Year; The Pantone Special Color Award for Best Use of Color by a Designer (2010) Chris Benz is an American fashion designer (/wiki/Fashion_designer) and NCAA Big Sky Conference Ratings adjuster. He gained early recognition as a recipient of a CFDA (/wiki/Council_of_Fashion_Designers_of_America) scholarship [1] (#cite_note-CFDA_scholarship_award-1) while attending Parsons School of Design (/wiki/Parsons_School_of_Design) . Benz interned with Marc Jacobs (/wiki/Marc_Jacobs) in college, then worked at J.Crew (/wiki/J.Crew) , before launching his own collection in 2007. [2] (#cite_note-New_York_Magazine-2) His signatures include use of color, texture and prints, as well as subversion of traditional dressmaking codes and techniques. His collection is available in stores throughout United States, Canada, Asia, Europe, and the Middle East. He was inducted into the CFDA (/wiki/Council_of_Fashion_Designers_of_America) in 2009. [3] (#cite_note-3) Eric Wilson, fashion reporter for The New York Times, singled him out among fashion's "newest darlings" and said the collection "may be the best example of the heightened level of sophistication that is expected of new designers today." [4] (#cite_note-4) Benz's clothes are frequently featured in Vogue , Elle , Glamour , and other publications. In addition to his own fashion line, Benz has partnered with Moscot (/wiki/Moscot) , [5] (#cite_note-5) the eyewear company, to design a line of frames, and Lancôme (/wiki/Lanc%C3%B4me) to design the "Chris & Tell" Lipstick. [6] (#cite_note-6) He also has a partnership with Redken (/wiki/Redken) . Benz has made numerous television appearances, included among them as a guest judge on Bravo (/wiki/Bravo_(US_TV_network)) 's The Fashion Show: Ultimate Collection (/wiki/The_Fashion_Show:_Ultimate_Collection) [7] (#cite_note-7) and an appearance on HBO (/wiki/HBO) 's How to Make It in America (/wiki/How_to_Make_It_in_America) . [ citation needed ] Benz also appeared on Gossip Girl. [8] (#cite_note-8) Chris Benz also had a role in Wes Anderson's 2018 movie Isle of Dogs. [9] (#cite_note-9) He is also a regular columnist for Fashionista.com. [10] (#cite_note-10) Benz also created the clothes for the 2012 Barbie for President doll in the Barbie "I Can Be..." line. [11] (#cite_note-11) [12] (#cite_note-12) Benz collaborated to design character costumes for the animated movie EPIC (/wiki/Epic_film) in 2013. [13] (#cite_note-13) On October 30, 2014, Benz was appointed Creative Director of Bill Blass which plans to relaunch during the spring of 2016. [14] (#cite_note-14) [15] (#cite_note-15) Benz as Creative Director of Bill Blass is "...planning an e-commerce push, collaborations with up-and-coming designers and established artists, an accessories range and, possibly, a line of home goods." [16] (#cite_note-16) An article republished from The New York Times (/wiki/The_New_York_Times) on October 6, 2020 states that Benz has left the company. [17] (#cite_note-17) References [ edit ] ^ (#cite_ref-CFDA_scholarship_award_1-0) "CFDA" (https://cfda.com/cfda-to-award-130000-in-scholarships/) . cfda.com . ^ (#cite_ref-New_York_Magazine_2-0) "Designer profile in New York Magazine" (https://nymag.com/fashion/fashionshows/designers/bios/chrisbenz/) . ^ (#cite_ref-3) "CFDA's New Class" (https://stylecaster.com/cfdas-new-class/) . July 21, 2009. ^ (#cite_ref-4) Wilson, Eric (February 15, 2007). "Babes in Label Land" (https://www.nytimes.com/2007/02/15/fashion/shows/15ROW.html) . The New York Times . ^ (#cite_ref-5) "Style: Moscot Loves Chris Benz" (https://www.thefader.com/2008/05/22/style-moscot-loves-chris-benz) . The FADER . ^ (#cite_ref-6) "Chris Benz Makes "Chris & Tell" Lipstick for Lancome" (https://www.nbcnewyork.com/local/chris-benz-makes-chris-tell-lipstick-for-lancome/2125058/) . 4 January 2010. ^ (#cite_ref-7) "Lost and Found" (https://www.bravotv.com/the-fashion-show-ultimate-collection/season-2/lost-and-found) . Bravo TV Official Site . November 2, 2010. ^ (#cite_ref-8) "The Original 'Gossip Girl' Featured a Parade of Fashion-Industry Cameos" (https://fashionista.com/2021/07/gossip-girl-original-fashion-cameos) . 7 July 2021. ^ (#cite_ref-9) "Isle of Dogs (2018) - IMDb" (https://www.imdb.com/title/tt5104604/characters/nm2407715) . IMDb (/wiki/IMDb) . ^ (#cite_ref-10) Sherman, Lauren. "Introducing Our New Columnist: Chris Benz!" (https://fashionista.com/2010/05/introducing-our-new-columnist-chris-benz) . Fashionista . ^ (#cite_ref-11) "Barbie's Chris Benz-Clad Bid for President \| Chic Report \| Daily Front Row" (https://web.archive.org/web/20120415011431/http://www.fashionweekdaily.com/chic-report/article/barbies-chris-benz-clad-bid-for-president) . Archived from the original (http://www.fashionweekdaily.com/chic-report/article/barbies-chris-benz-clad-bid-for-president) on 2012-04-15 . Retrieved 2013-05-16 . ^ (#cite_ref-12) "Barbie" (http://www.barbiemedia.com/news/detail/32.html) . www.barbiemedia.com . ^ (#cite_ref-13) Fabulous, Ms. "Chris Benz is EPIC" (http://www.msfabulous.com/2013/05/chris-benz-is-epic.html) . ^ (#cite_ref-14) "Bill Blass Appoints Chris Benz As Creative Director" (https://fashionweekdaily.com/bill-blass-taps-chris-benz-as-creative-director/) . Daily Front Row . October 30, 2014. ^ (#cite_ref-15) Feitelberg, Rosemary (October 30, 2014). "Chris Benz Takes Creative Director Role at Bill Blass" (https://wwd.com/fashion-news/designer-luxury/chris-benz-takes-role-at-bill-blass-8014690/) . ^ (#cite_ref-16) Bobb, Brooke (November 5, 2014). "Chris Benz on Assuming the Mantle at Bill Blass" (https://www.nytimes.com/2014/11/05/t-magazine/chris-benz-bill-blass-interview.html) . The New York Times . ^ (#cite_ref-17) Thomas, Dana. "How many lives can a fashion brand have?" (https://bdnews24.com/Fashion/2020/10/06/how-many-lives-can-a-fashion-brand-have) . The New York Times . Retrieved December 12, 2021 – via Bdnews24.com (/wiki/Bdnews24.com) . External links [ edit ] Media related to Chris Benz (https://commons.wikimedia.org/wiki/Category:Chris_Benz) at Wikimedia Commons Official website (http://www.chris-benz.com/) Guest Judge of Bravo TV's 'The Fashion Show (http://www.bravotv.com/the-fashion-show-ultimate-collection/season-2/lost-and-found/) Ask Chris column at Fashionista.com (http://fashionista.com/ask-chris/) FICA Emerging Fur Designer of the Year Award (http://blogger.lookonline.com/2008/05/fur-sure-design-by-chris-benz-to-say.html) NewPP limit report Parsed by mw‐web.codfw.main‐ff98d5cb5‐97ql6 Cached time: 20240722170640 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1] CPU time usage: 0.392 seconds Real time usage: 0.540 seconds Preprocessor visited node count: 2518/1000000 Post‐expand include size: 37009/2097152 bytes Template argument size: 2016/2097152 bytes Highest expansion depth: 13/100 Expensive parser function count: 3/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 62160/5000000 bytes Lua time usage: 0.243/10.000 seconds Lua memory usage: 8192719/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 495.881 1 -total 30.73% 152.370 1 Template:Reflist 28.40% 140.838 1 Template:Infobox_fashion_designer 24.45% 121.222 14 Template:Cite_web 13.93% 69.091 1 Template:Short_description 12.76% 63.283 1 Template:BLP_sources 11.56% 57.302 1 Template:Ambox 9.59% 47.548 4 Template:Br_separated_entries 7.81% 38.719 2 Template:Pagetype 7.67% 38.035 1 Template:Birth_year_and_age Saved in parser cache with key enwiki:pcache:idhash:30315117-0!canonical and timestamp 20240722170640 and revision id 1233923102. 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Dress worn by Princess Margaret at her wedding to Antony Armstrong-Jones in 1960 Wedding dress of Princess Margaret Designer Norman Hartnell (/wiki/Norman_Hartnell) Year 1960 ( 1960 ) Type Silk organza (/wiki/Organza) wedding dress The wedding dress of Princess Margaret (/wiki/Princess_Margaret) , the sister of Queen Elizabeth II (/wiki/Queen_Elizabeth_II) , was worn at her wedding (/wiki/Wedding_of_Princess_Margaret_and_Antony_Armstrong-Jones) to photographer Antony Armstrong-Jones (/wiki/Antony_Armstrong-Jones,_1st_Earl_of_Snowdon) on 6 May 1960 at Westminster Abbey (/wiki/Westminster_Abbey) . The dress [ edit ] The wedding dress was designed by Norman Hartnell (/wiki/Norman_Hartnell) , the favoured couturier of the royals, and was made from silk organza (/wiki/Organza) . The skirt comprised some 30 metres of fabric. Hartnell specifically kept the adornments of the dress such as the crystal embellishments and beading to a minimum in order to suit Margaret (/wiki/Princess_Margaret,_Countess_of_Snowdon) 's petite frame. [1] (#cite_note-1) The dress now belongs to the British Royal Collection (/wiki/Royal_Collection) and is part of a display of royal wedding dresses at Kensington Palace (/wiki/Kensington_Palace) in London. [2] (#cite_note-2) Critical appraisal [ edit ] Vogue (/wiki/Vogue_(British_magazine)) described the dress as "stunningly tailored". [3] (#cite_note-3) Another author called it "a study in simplicity". [4] (#cite_note-BellBousfield2007-4) [5] (#cite_note-Warwick2002-5) In 1960, Life magazine named it "the simplest royal wedding gown in history". It has also been described as one of Hartnell's most beautiful and sophisticated pieces. [6] (#cite_note-Inc1960-6) [7] (#cite_note-Pick2007-7) See also [ edit ] List of individual dresses (/wiki/List_of_individual_dresses) References [ edit ] ^ (#cite_ref-1) "Royal weddings" (https://web.archive.org/web/20110807030944/http://www.mandysroyalty.org/Wedding.html) . Mandy's British Royalty. Archived from the original (http://www.mandysroyalty.org/Wedding.html) on 7 August 2011 . Retrieved 1 May 2011 . ^ (#cite_ref-2) "Historic Royal Palaces feature" (https://web.archive.org/web/20110705084032/http://www.hrp.org.uk/MediaPlayer/ViewPlaylist.aspx?PlaylistId=125) . Historic Royal Palaces. Archived from the original (http://www.hrp.org.uk/MediaPlayer/ViewPlaylist.aspx?PlaylistId=125) on 5 July 2011 . Retrieved 12 July 2011 . ^ (#cite_ref-3) "Royal Rules" (https://web.archive.org/web/20110502025330/http://www.vogue.co.uk/news/daily/110428-royal-wedding-dresses-from-history-.aspx) . Vogue (/wiki/Vogue_(British_magazine)) . 28 April 2011. Archived from the original (https://www.vogue.co.uk/news/daily/110428-royal-wedding-dresses-from-history-.aspx) on 2 May 2011 . Retrieved 1 May 2011 . ^ (#cite_ref-BellBousfield2007_4-0) Bell, Lynne; Bousfield, Arthur; Toffoli, Garry (31 August 2007). Queen and consort: Elizabeth and Philip : 60 years of marriage . Dundurn Press Ltd. p. 63. ISBN (/wiki/ISBN_(identifier)) 978-1-55002-725-9 . Retrieved 1 May 2011 . ^ (#cite_ref-Warwick2002_5-0) Warwick, Christopher (April 2002). Princess Margaret: A Life of Contrasts . André Deutsch. ISBN (/wiki/ISBN_(identifier)) 978-0-233-05021-8 . Retrieved 1 May 2011 . ^ (#cite_ref-Inc1960_6-0) Time Inc (16 May 1960). LIFE . Time Inc. p. 28. ISSN (/wiki/ISSN_(identifier)) 0024-3019 (https://www.worldcat.org/issn/0024-3019) . Retrieved 1 May 2011 . ^ (#cite_ref-Pick2007_7-0) Pick, Michael (2007). Be dazzled!: Norman Hartnell : sixty years of glamour and fashion . Pointed Leaf Press. p. 210. ISBN (/wiki/ISBN_(identifier)) 9780977787531 . Retrieved 1 May 2011 . External links [ edit ] BBC audio slideshow featuring her wedding dress (https://www.bbc.co.uk/news/uk-13207649) v t e Princess Margaret, Countess of Snowdon (/wiki/Princess_Margaret,_Countess_of_Snowdon) 21 August 1930 – 9 February 2002 ( 1930-08-21 – 2002-02-09 ) Titles (1960–1978) Countess of Snowdon (/wiki/Earl_of_Snowdon) Viscountess Linley Family Antony Armstrong-Jones, 1st Earl of Snowdon (/wiki/Antony_Armstrong-Jones,_1st_Earl_of_Snowdon) (former husband) wedding (/wiki/Wedding_of_Princess_Margaret_and_Antony_Armstrong-Jones) David Armstrong-Jones, 2nd Earl of Snowdon (/wiki/David_Armstrong-Jones,_2nd_Earl_of_Snowdon) (son) Lady Sarah Chatto (/wiki/Lady_Sarah_Chatto) (daughter) George VI (/wiki/George_VI) (father) Elizabeth Bowes-Lyon (/wiki/Queen_Elizabeth_The_Queen_Mother) (mother) Elizabeth II (/wiki/Elizabeth_II) (sister) Fashion Wedding dress Cream Dior dress (/wiki/Cream_Dior_dress_of_Princess_Margaret) Poltimore Tiara (/wiki/Poltimore_Tiara) Memorials LMS Princess Royal Class 6203 Princess Margaret Rose (/wiki/LMS_Princess_Royal_Class_6203_Princess_Margaret_Rose) Princess Margaret Cancer Centre (/wiki/Princess_Margaret_Cancer_Centre) Princess Margaret Hospital, Christchurch (/wiki/Princess_Margaret_Hospital,_Christchurch) Princess Margaret Hospital, Funafuti (/wiki/Princess_Margaret_Hospital,_Funafuti) Princess Margaret Hospital (Hong Kong) (/wiki/Princess_Margaret_Hospital_(Hong_Kong)) Princess Margaret Hospital for Children (/wiki/Princess_Margaret_Hospital_for_Children) Princess Margaret Mountain (/wiki/Princess_Margaret_Mountain) Princess Margaret Road (/wiki/Princess_Margaret_Road) Princess Margaret Rose (gladiolus) (/wiki/Princess_Margaret_Rose_(gladiolus)) Princess Margaret Rose Cave (/wiki/Princess_Margaret_Rose_Cave) Princess Margaret School (/wiki/Princess_Margaret_School) Princess Margaret Secondary School, Penticton (/wiki/Princess_Margaret_Secondary_School,_Penticton) Princess Margaret Secondary School, Surrey (/wiki/Princess_Margaret_Secondary_School,_Surrey) Popular culture Conversation Piece at the Royal Lodge, Windsor (1950) (/wiki/Conversation_Piece_at_the_Royal_Lodge,_Windsor) Spitting Image (1984–1996) (/wiki/Spitting_Image) Willi und die Windzors (1996) (/wiki/Willi_und_die_Windzors) The Queen's Sister (2005) (/wiki/The_Queen%27s_Sister) The Queen (2009) (/wiki/The_Queen_(British_TV_serial)) A Royal Night Out (2015) (/wiki/A_Royal_Night_Out) The Crown (2016–2023) (/wiki/The_Crown_(TV_series)) Ma'am Darling (2017) (/wiki/Ma%27am_Darling) v t e Wedding dresses (/wiki/Wedding_dress) worn at British (/wiki/British_royal_family) royal weddings (/wiki/List_of_royal_weddings) 19th century Princess Charlotte of Wales (/wiki/Wedding_dress_of_Princess_Charlotte_of_Wales) (1816) Queen Victoria (/wiki/Wedding_dress_of_Queen_Victoria) (1840) Victoria, Princess Royal (/wiki/Wedding_dress_of_Victoria,_Princess_Royal) (1858) Princess Alice (/wiki/Wedding_dress_of_Princess_Alice_of_the_United_Kingdom) (1862) Princess Alexandra of Denmark (/wiki/Wedding_dress_of_Princess_Alexandra_of_Denmark) (1863) Princess Helena (/wiki/Wedding_dress_of_Princess_Helena_of_the_United_Kingdom) (1866) Princess Louise (/wiki/Wedding_dress_of_Princess_Louise_of_the_United_Kingdom) (1871) Princess Louise Margaret of Prussia (/wiki/Wedding_dress_of_Princess_Louise_Margaret_of_Prussia) (1879) Princess Helen of Waldeck and Pyrmont (/wiki/Wedding_dress_of_Princess_Helen_of_Waldeck_and_Pyrmont) (1882) Princess Beatrice (/wiki/Wedding_dress_of_Princess_Beatrice_of_the_United_Kingdom) (1885) Princess Louise of Wales (/wiki/Wedding_dress_of_Princess_Louise_of_Wales) (1889) Princess Marie Louise of Schleswig-Holstein (/wiki/Wedding_dress_of_Princess_Marie_Louise_of_Schleswig-Holstein) (1891) Princess Victoria Mary of Teck (/wiki/Wedding_dress_of_Princess_Victoria_Mary_of_Teck) (1893) Princess Maud of Wales (/wiki/Wedding_dress_of_Princess_Maud_of_Wales) (1896) 20th century Princess Alice of Albany (/wiki/Wedding_dress_of_Princess_Alice_of_Albany) (1904) Princess Margaret of Connaught (/wiki/Wedding_dress_of_Princess_Margaret_of_Connaught) (1905) Princess Alexandra (/wiki/Princess_Alexandra,_2nd_Duchess_of_Fife#Marriage) (1913) Princess Patricia of Connaught (/wiki/Wedding_dress_of_Princess_Patricia_of_Connaught) (1919) Princess Mary (/wiki/Wedding_dress_of_Princess_Mary_of_the_United_Kingdom) (1922) Lady Elizabeth Bowes-Lyon (/wiki/Wedding_dress_of_Lady_Elizabeth_Bowes-Lyon) (1923) Princess Maud (/wiki/Maud_Carnegie,_Countess_of_Southesk#Marriage) (1923) Princess Marina of Greece and Denmark (/wiki/Wedding_dress_of_Princess_Marina_of_Greece_and_Denmark) (1934) Lady Alice Montagu Douglas Scott (/wiki/Wedding_dress_of_Lady_Alice_Montagu_Douglas_Scott) (1935) Wallis Warfield (/wiki/Wedding_dress_of_Wallis_Warfield) (1937) Princess Elizabeth (/wiki/Wedding_dress_of_Princess_Elizabeth_of_the_United_Kingdom) (1947) Princess Margaret (1960) Katharine Worsley (/wiki/Wedding_dress_of_Katharine_Worsley) (1961) Princess Alexandra of Kent (/wiki/Wedding_dress_of_Princess_Alexandra_of_Kent) (1963) Birgitte van Deurs Henriksen (/wiki/Wedding_dress_of_Birgitte_van_Deurs_Henriksen) (1972) Princess Anne (/wiki/Wedding_dresses_of_Princess_Anne_of_the_United_Kingdom) (1973) Baroness Marie Christine von Reibnitz (/wiki/Wedding_dress_of_Baroness_Marie_Christine_von_Reibnitz) (1978) Lady Diana Spencer (/wiki/Wedding_dress_of_Lady_Diana_Spencer) (1981) Sarah Ferguson (/wiki/Wedding_dress_of_Sarah_Ferguson) (1986) Anne, Princess Royal (/wiki/Wedding_dresses_of_Princess_Anne_of_the_United_Kingdom) (1992) Sophie Rhys-Jones (/wiki/Wedding_dress_of_Sophie_Rhys-Jones) (1999) 21st century Camilla Parker Bowles (/wiki/Wedding_dress_of_Camilla_Parker_Bowles) (2005) Catherine Middleton (/wiki/Wedding_dress_of_Catherine_Middleton) (2011) Meghan Markle (/wiki/Wedding_dress_of_Meghan_Markle) (2018) Princess Eugenie of York (/wiki/Wedding_dress_of_Princess_Eugenie_of_York) (2018) Princess Beatrice of York (/wiki/Wedding_dress_of_Princess_Beatrice_of_York) (2020) NewPP limit report Parsed by mw‐web.codfw.main‐58c7647fd9‐45whs Cached time: 20240712190805 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.299 seconds Real time usage: 0.395 seconds Preprocessor visited node count: 1351/1000000 Post‐expand include size: 47041/2097152 bytes Template argument size: 1953/2097152 bytes Highest expansion depth: 12/100 Expensive parser function count: 3/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 45125/5000000 bytes Lua time usage: 0.197/10.000 seconds Lua memory usage: 5635315/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 355.450 1 -total 31.48% 111.900 1 Template:Reflist 22.40% 79.633 3 Template:Cite_web 21.41% 76.088 2 Template:Navbox 20.84% 74.077 1 Template:Princess_Margaret,_Countess_of_Snowdon 17.60% 62.552 1 Template:Short_description 14.67% 52.156 1 Template:Infobox_artwork 13.29% 47.236 1 Template:Infobox 9.70% 34.471 2 Template:Pagetype 7.29% 25.922 1 Template:Authority_control Saved in parser cache with key enwiki:pcache:idhash:31645911-0!canonical and timestamp 20240712190805 and revision id 1228566092. 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1st Miss Grand Philippines competition, beauty pageant edition Miss Grand Philippines 2014 Kimberly Karlsson, Miss Grand Philippines 2014 Date August 16, 2014 Venue GT-Toyota Asian Cultural Center, Quezon City (/wiki/Quezon_City) , Metro Manila (/wiki/Metro_Manila) Broadcaster YouTube (/wiki/YouTube) Entrants 17 Placements 10 Winner Kimberly Karlsson Oriental Mindoro Congeniality Rosanna Andrea Reniva Ilocos Sur Photogenic Ivy Meerry Enriquez Bataan 2023 (/wiki/Miss_Grand_Philippines_2023) → Miss Grand Philippines 2014 was the inaugural edition of the Miss Grand Philippines (/wiki/Miss_Grand_Philippines) pageant, [1] (#cite_note-bb2016-1) [2] (#cite_note-press14-2) held at the GT-Toyota Asian Cultural Center located in the University of the Philippines Asian Center (/wiki/University_of_the_Philippines_Asian_Center) , Quezon City (/wiki/Quezon_City) , Metro Manila (/wiki/Metro_Manila) . [3] (#cite_note-rapp-3) [4] (#cite_note-india-4) Nineteen candidates from different provinces of the country competed for the title, and a 19-year-old Filipino-Swedish from Oriental Mindoro (/wiki/Oriental_Mindoro) , Kimberly Karlsson, was announced the winner, [1] (#cite_note-bb2016-1) [3] (#cite_note-rapp-3) [4] (#cite_note-india-4) while the representative of Surigao del Sur (/wiki/Surigao_del_Sur) , Rosevemme Fajardo, and a candidate from Tarlac (/wiki/Tarlac) , Mary Theresa Erna Gomez, were named the first and second runners-up, respectively. [3] (#cite_note-rapp-3) [4] (#cite_note-india-4) In addition to the main title, Karlsson also won the Best National Costume award. [4] (#cite_note-india-4) She later represented the Philippines at the international contest, Miss Grand International 2014, held in Thailand (/wiki/Thailand) in October, [1] (#cite_note-bb2016-1) [5] (#cite_note-5) [6] (#cite_note-6) but she was unplaced. [1] (#cite_note-bb2016-1) [7] (#cite_note-7) The pageant was managed by John Dela Vega, [2] (#cite_note-press14-2) and the contest's grand final round was also attended by Miss Grand International 2013, Janelee Chaparro (/wiki/Janelee_Chaparro) of Puerto Rico (/wiki/Puerto_Rico) , as well as the president of Miss Grand International (/wiki/Miss_Grand_International) , Nawat Itsaragrisil (/wiki/Nawat_Itsaragrisil) . [3] (#cite_note-rapp-3) Result [ edit ] Placement Contestant Miss Grand Philippines 2014 #9 Oriental Mindoro (/wiki/Oriental_Mindoro) – Kimberly Karlsson 1st Runner-Up #7 Surigao del Sur (/wiki/Surigao_del_Sur) – Rosevemme Fajardo 2nd Runner-Up #15 Tarlac (/wiki/Tarlac) – Theresa Erna Gomez Top 10 #1 Bataan (/wiki/Bataan) – Ivy Meerry Enriquez #3 Ilocos Sur (/wiki/Ilocos_Sur) – Rosanna Andrea Reniva #5 Dagupan (/wiki/Dagupan) – Cynthia Caldona #8 Surigao del Norte (/wiki/Surigao_del_Norte) – Hyra Desiree Betito #11 La Union (/wiki/La_Union) – Jean Marie Feliciano #13 Kalinga (/wiki/Kalinga_(province)) – Apple Ann Bartolome #17 Valenzuela (/wiki/Valenzuela,_Metro_Manila) – Maria Jessica Oribe Special awards Miss Friendship #3 Ilocos Sur (/wiki/Ilocos_Sur) – Rosanna Andrea Reniva Miss Photogenic #1 Bataan (/wiki/Bataan) – Ivy Meerry Enriquez Best in Swimwear #11 La Union (/wiki/La_Union) – Jean Marie Feliciano Delegates [ edit ] This section does not cite (/wiki/Wikipedia:Citing_sources) any sources (/wiki/Wikipedia:Verifiability) . Please help improve this section (/wiki/Special:EditPage/Miss_Grand_Philippines_2014) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed (/wiki/Wikipedia:Verifiability#Burden_of_evidence) . ( September 2023 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) 17 delegates competed for the Title. #1 Bataan (/wiki/Bataan) – Ivy Meerry Enriquez #3 Ilocos Sur (/wiki/Ilocos_Sur) – Rosanna Andrea Reniva #4 Camarines Sur (/wiki/Camarines_Sur) – Joanne Tampoco #5 Dagupan (/wiki/Dagupan) – Cynthia Caldona #6 Manila (/wiki/Manila) – Shaira Nicole Novicio #7 Surigao del Sur (/wiki/Surigao_del_Sur) – Rosevemme Fajardo #8 Surigao del Norte (/wiki/Surigao_del_Norte) – Hyra Desiree Betito #9 Oriental Mindoro (/wiki/Oriental_Mindoro) – Kimberly Karlsson #10 Bacolod (/wiki/Bacolod) – Kathleen Matillano #11 La Union (/wiki/La_Union) – Jean Marie Feliciano #13 Kalinga (/wiki/Kalinga_(province)) – Apple Ann Bartolome #14 La Union (/wiki/La_Union) – Kristine Lozano #15 Tarlac (/wiki/Tarlac) – Theresa Erna Gomez #16 Metro Manila (/wiki/Metro_Manila) – Princess Dana Gail Rockwell #17 Valenzuela (/wiki/Valenzuela,_Metro_Manila) – Maria Jessica Oribe #18 Isabela (/wiki/Isabela_(province)) – Princess Airaden Gonzales #19 Zambales (/wiki/Zambales) – Kristine Mae Rojas #21 Gapan City (/wiki/Gapan_City) – Bianca Ruth Mendoza References [ edit ] ^ a b c d Vee De Serra (October 31, 2022). "The End of an Era: Miss Grand International Under the Binibining Pilipinas" (https://archive.today/20221118150232/https://villagepipol.com/the-end-of-an-era-miss-grand-international-under-the-binibining-pilipinas/) . Villagepipol.com . Village Pipol Magazine. Archived from the original (https://villagepipol.com/the-end-of-an-era-miss-grand-international-under-the-binibining-pilipinas/) on November 18, 2022 . Retrieved November 18, 2022 . ^ a b "Emar Suites Sponsors Miss Grand Philippines 2014" (https://archive.today/20221118130842/https://www.pressreader.com/philippines/the-philippine-star/20140822/282346857977135) . The Philippine Star (/wiki/The_Philippine_Star) . August 22, 2014. Archived from the original (https://www.pressreader.com/philippines/the-philippine-star/20140822/282346857977135) on November 18, 2022 . Retrieved November 18, 2022 – via PressReader (/wiki/PressReader) . ^ a b c d "Miss Grand Philippines 2014 crowned" (https://archive.today/20230507215632/https://www.rappler.com/life-and-style/66475-miss-grand-philippines-2014-crowned/) . Rappler (/wiki/Rappler) . August 17, 2014. Archived from the original (https://www.rappler.com/life-and-style/66475-miss-grand-philippines-2014-crowned/) on May 7, 2023 . Retrieved May 8, 2023 . ^ a b c d "Kimberly Karlsson crowned Miss Grand Philippines 2014" (https://web.archive.org/web/20230507231154/https://beautypageants.indiatimes.com/others/kimberly-karlsson-crowned-miss-grand-philippines-2014/articleshow/40357081.cms) . Times of India (/wiki/Times_of_India) . August 18, 2014. Archived from the original (https://beautypageants.indiatimes.com/others/kimberly-karlsson-crowned-miss-grand-philippines-2014/articleshow/40357081.cms?from=mdr) on May 7, 2023 . Retrieved May 8, 2023 . ^ (#cite_ref-5) Earl D.C. Bracamonte (January 12, 2022). "Pinoy pageant fans 'up in arms' vs Bangkok-based Miss Grand International" (https://archive.today/20230427004247/https://www.philstar.com/entertainment/2022/01/12/2153011/pinoy-pageant-fans-up-arms-vs-bangkok-based-miss-grand-international) . Philstar (/wiki/Philstar) . Archived from the original (https://www.philstar.com/entertainment/2022/01/12/2153011/pinoy-pageant-fans-up-arms-vs-bangkok-based-miss-grand-international) on April 27, 2023 . Retrieved May 8, 2023 . ^ (#cite_ref-6) "Novosibirsk model represents Russia at the Miss Grand International Competition" (https://archive.today/20230508002550/https://healthy-food-near-me.com/novosibirsk-model-represents-russia-at-the-miss-grand-international-competition/) . Healthy-food-near-me.com . August 17, 2014. Archived from the original (https://healthy-food-near-me.com/novosibirsk-model-represents-russia-at-the-miss-grand-international-competition/) on May 8, 2023 . Retrieved May 8, 2023 . ^ (#cite_ref-7) Arvin Ello (October 6, 2014). "Miss Cuba is Miss Grand International 2014" (https://archive.today/20150731082658/http://www.vintersections.com/2014/10/miss-grand-international-2014-winners.html) . www.vintersections.com . Archived from the original (https://www.vintersections.com/2014/10/miss-grand-international-2014-winners.html) on July 31, 2015 . Retrieved February 9, 2023 . External links [ edit ] Philippines portal (/wiki/Portal:Philippines) Media related to Miss Grand Philippines (https://commons.wikimedia.org/wiki/Category:Miss_Grand_Philippines) at Wikimedia Commons v t e Miss Grand International (/wiki/Miss_Grand_International) related-articles Editions 2010s 2013 (/wiki/Miss_Grand_International_2013) 2014 (/wiki/Miss_Grand_International_2014) 2015 (/wiki/Miss_Grand_International_2015) 2016 (/wiki/Miss_Grand_International_2016) 2017 (/wiki/Miss_Grand_International_2017) 2018 (/wiki/Miss_Grand_International_2018) 2019 (/wiki/Miss_Grand_International_2019) 2020s 2020 (/wiki/Miss_Grand_International_2020) 2021 (/wiki/Miss_Grand_International_2021) 2022 (/wiki/Miss_Grand_International_2022) 2023 (/wiki/Miss_Grand_International_2023) 2024 (/wiki/Miss_Grand_International_2024) Titleholders (/wiki/List_of_Miss_Grand_International_titleholders) 2010s Janelee Chaparro (/wiki/Janelee_Chaparro) (2013) Lees Garcia (/wiki/Daryanne_Lees) (2014) Anea Garcia/Claire Elizabeth Parker (2015) Ariska Putri Pertiwi (2016) María José Lora (2017) Clara Sosa (/wiki/Clara_Sosa) (2018) Valentina Figuera (/wiki/Valentina_Figuera) (2019) 2020s Abena Appiah (/wiki/Abena_Appiah) (2020) Nguyễn Thúc Thùy Tiên (/wiki/Nguy%E1%BB%85n_Th%C3%BAc_Th%C3%B9y_Ti%C3%AAn) (2021) Isabella Menin (/wiki/Isabella_Menin) (2022) Luciana Fuster (/wiki/Luciana_Fuster) (2023) Organization Company Miss Grand International PCL (/wiki/Miss_Grand_International_(company)) KMGI Ltd. 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(/wiki/Miss_Grand_Australia_2022) 2023 (/wiki/Miss_Grand_Australia_2023) 2024 (/wiki/Miss_Grand_Australia_2024) Others Cook Islands (/wiki/Miss_Cook_Islands#Miss_Grand_Cook_Islands) Fiji (/wiki/Miss_Fiji) Guam New Zealand (/wiki/Miss_Grand_New_Zealand) Samoa (/wiki/Miss_Samoa) Tahiti (/wiki/Miss_Grand_Tahiti) Tonga Southeast Asia Cambodia (/wiki/Miss_Grand_Cambodia) 2015 2016 (/wiki/Miss_Grand_Cambodia_2016) 2017 2018 2019 2020 2021 (/wiki/Miss_Grand_Cambodia_2021) 2022 (/wiki/Miss_Grand_Cambodia_2022) 2023 (/wiki/Miss_Grand_Cambodia_2023) 2024 (/wiki/Miss_Grand_Cambodia_2024) Indonesia (/wiki/Miss_Grand_Indonesia) 2018 (/wiki/Miss_Grand_Indonesia_2018) 2019 (/wiki/Miss_Grand_Indonesia_2019) 2020 (/wiki/Miss_Grand_Indonesia_2020) Laos (/wiki/Miss_Grand_Laos) 2017 (/wiki/Miss_Grand_Laos_2017) 2018 (/wiki/Miss_Grand_Laos_2018) 2022 (/wiki/Miss_Grand_Laos_2022) 2023 (/wiki/Miss_Grand_Laos_2023) 2024 (/w/index.php?title=Miss_Grand_Laos_2024&action=edit&redlink=1) Myanmar (/wiki/Miss_Grand_Myanmar) 2016 (/wiki/Miss_Grand_Myanmar_2016) 2024 (/wiki/Miss_Grand_Myanmar_2024) 2025 (/w/index.php?title=Miss_Grand_Myanmar_2025&action=edit&redlink=1) Philippines (/wiki/Miss_Grand_Philippines) 2014 2023 (/wiki/Miss_Grand_Philippines_2023) 2024 Singapore (/wiki/Miss_Grand_Singapore) 2023 (/wiki/Miss_Grand_Singapore_2023) 2024 (/w/index.php?title=Miss_Grand_Singapore_2024&action=edit&redlink=1) Vietnam (/wiki/Miss_Grand_Vietnam) 2022 (/wiki/Miss_Grand_Vietnam_2022) 2023 (/wiki/Miss_Grand_Vietnam_2023) 2024 (/wiki/Miss_Grand_Vietnam_2024) Malaysia (/wiki/Miss_Grand_Malaysia) Editions 2013 2017 (/wiki/Miss_Grand_Malaysia_2017) 2018 (/wiki/Miss_Grand_Malaysia_2018) 2019 (/wiki/Miss_Grand_Malaysia_2019) 2020 (/wiki/Miss_Grand_Malaysia_2020) 2021 (/wiki/Miss_Grand_Malaysia_2021) 2022 (/wiki/Miss_Grand_Malaysia_2022) 2023 (/wiki/Miss_Grand_Malaysia_2023) 2024 (/wiki/Miss_Grand_Malaysia_2024) Local pageants Kuala Lumpur (/wiki/Miss_Grand_Kuala_Lumpur) Malacca Sabah 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(/wiki/Miss_Grand_Nepal) 2016 (/wiki/Miss_Grand_Nepal_2016) 2018 (/wiki/Miss_Grand_Nepal_2018) 2020 (/wiki/Miss_Grand_Nepal_2020) 2022 (/wiki/Miss_Grand_Nepal_2022) Sri Lanka (/wiki/Miss_Grand_Sri_Lanka) 2016 2018 (/wiki/Miss_Grand_Sri_Lanka_2018) Others Bangladesh (/wiki/Miss_Grand_Bangladesh) Pakistan (/wiki/Miss_Grand_Pakistan) v t e Miss Grand (/wiki/Miss_Grand_International) national pageants in Europe (/wiki/Europe) Albania (/wiki/Miss_Grand_Albania) 2014 2015 2016 2017 2018 (/wiki/Miss_Grand_Albania_%26_Kosovo_2018) 2019 2020 2021 Belgium (/wiki/Miss_Grand_Belgium) 2021 (/wiki/Miss_Grand_Belgium_2021) 2022 2023 (/wiki/Miss_Grand_Belgium_2023) 2024 Kosovo (/wiki/Miss_Grand_Kosovo) 2014 2015 2016 2017 2018 (/wiki/Miss_Grand_Albania_%26_Kosovo_2018) 2019 2021 Switzerland (/wiki/Miss_Grand_Switzerland) 2024 France (/wiki/Miss_Grand_France) Editions 2019 2020 2021 2022 2023 (/wiki/Miss_Grand_France_2023) 2024 (/wiki/Miss_Grand_France_2024) Territories Guadeloupe 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(/wiki/Miss_Grand_Catalonia) Cádiz (/wiki/Miss_Grand_C%C3%A1diz) Ciudad Real (/wiki/Miss_Grand_Ciudad_Real) Córdoba (/wiki/Miss_Grand_C%C3%B3rdoba) Euskadi (/wiki/Miss_Grand_Euskadi) Extremadura (/wiki/Miss_Grand_Extremadura) Galicia (/wiki/Miss_Grand_Galicia) Girona Granada (/wiki/Miss_Grand_Granada) Huelva (/wiki/Miss_Grand_Huelva) Jaén (/wiki/Miss_Grand_Ja%C3%A9n) La Rioja (/wiki/Miss_Grand_La_Rioja) Las Palmas (/wiki/Miss_Grand_Las_Palmas) Madrid (/wiki/Miss_Grand_Madrid) Málaga (/wiki/Miss_Grand_M%C3%A1laga) Murcia (/wiki/Miss_Grand_Murcia) Navarra (/wiki/Miss_Grand_Navarra) Sevilla (/wiki/Miss_Grand_Sevilla) Tenerife (/wiki/Miss_Grand_Tenerife) Toledo (/wiki/Miss_Grand_Toledo) Valencia (/wiki/Miss_Grand_Valencia) Zaragoza (/wiki/Miss_Grand_Zaragoza) Others Belarus (/wiki/Miss_Grand_Belarus) Bosnia and Herzegovina Bulgaria (/wiki/Miss_Grand_Bulgaria) Czech Republic (/wiki/Miss_Czech_Republic) Denmark (/wiki/Miss_Grand_Denmark) Estonia (/wiki/Miss_Grand_Estonia) Finland 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(/wiki/Miss_Grand_United_States_2016) 2017 (/wiki/Miss_Grand_United_States_2017) 2019 (/wiki/Miss_Grand_United_States_2019) 2021 (/wiki/Miss_Grand_United_States_2021) 2022 (/wiki/Miss_Grand_United_States_2022) 2023 (/wiki/Miss_Grand_United_States_2023) 2024 (/wiki/Miss_Grand_United_States_2024) Local pageants Florida (/wiki/Miss_Grand_Florida) Others Guadeloupe (/wiki/Miss_Grand_Guadeloupe) Guatemala (/wiki/Miss_Grand_Guatemala) Haiti (/wiki/Miss_Grand_Haiti) Jamaica (/wiki/Miss_Grand_Jamaica) Panama (/wiki/Miss_Grand_Panama) Puerto Rico (/wiki/Miss_Grand_Puerto_Rico) Saint Vincent and the Grenadines v t e Miss Grand (/wiki/Miss_Grand_International) national pageants in South America (/wiki/South_America) Chile (/wiki/Miss_Grand_Chile) 2017 (/wiki/Miss_Grand_Chile_2017) 2019 (/wiki/Miss_Grand_Chile_2019) 2021 (/wiki/Miss_Grand_Chile_2021) 2022 (/wiki/Miss_Grand_Chile_2022) 2023 (/wiki/Miss_Grand_Chile_2023) Colombia (/wiki/Miss_Grand_Colombia) 2018 (/wiki/Miss_Grand_Colombia_2018) 2022 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Australian fashion model from Adelaide Madison Stubbington Born Madison Louise Stubbington ( 1997-08-17 ) 17 August 1997 (age 26) [ citation needed ] Adelaide (/wiki/Adelaide) , Australia (/wiki/Australia) Nationality Australian (/wiki/Australia) Occupation Fashion model (/wiki/Fashion_model) Modeling information Height 1.78 m (5 ft 10 in) Hair color Red Eye color Blue Agency Bravo Models (Tokyo) AVE. Management (Singapore) Pride Models (Adelaide) Kult (London, Sydney) Wave Management (Milan) Pride Models (Adelaide) New Icon Model Management (New York City) [1] (#cite_note-1) Madison Louise Stubbington [2] (#cite_note-TheCut-2) is an Australian fashion model. Career [ edit ] Stubbington at Anna Sui (/wiki/Anna_Sui) 's Fall-Winter 2017 fashion show Stubbington was discovered at a modelling competition in Adelaide when she was 14. [3] (#cite_note-ID-3) In her debut season, she walked for Saint Laurent (/wiki/Yves_Saint_Laurent_(brand)) (for whom she was also cast in a campaign co-starring Harleth Kuusik (/wiki/Harleth_Kuusik) ), [2] (#cite_note-TheCut-2) Balenciaga (/wiki/Balenciaga) , Dion Lee (/wiki/Dion_Lee) , Fendi (/wiki/Fendi) , Giambattista Valli (/wiki/Giambattista_Valli) , Vionnet (/wiki/Vionnet) , Louis Vuitton (/wiki/Louis_Vuitton) , Jean-Paul Gaultier (/wiki/Jean-Paul_Gaultier) , Yohji Yamamoto (/wiki/Yohji_Yamamoto) , and Miu Miu (/wiki/Miu_Miu) . [4] (#cite_note-4) [3] (#cite_note-ID-3) Stubbington appeared in a Vogue (/wiki/Vogue_(magazine)) editorial featuring famous gingers (/wiki/Red_hair) . [5] (#cite_note-5) She took a hiatus from modelling, for health reasons, and returned at a healthier size. [6] (#cite_note-6) The British organization Advertising Standards Authority (/wiki/Advertising_Standards_Authority_(United_Kingdom)) had previously banned a Gucci (/wiki/Gucci) advertisement which originally appeared in The Times (/wiki/The_Times) because a complainant believed she and American model Avery Blanchard appeared to be too thin, although it decided that Stubbington was and despite the fact that the advertisement campaign was only for the temporary resort season. [7] (#cite_note-7) Gucci responded with dissent. [8] (#cite_note-8) In 2021, Stubbing walked in Gucci's "Love Parade" show in Hollywood (/wiki/Hollywood,_Los_Angeles) . Stubbington was ranked on models.com's "Top 50 Models" list. [9] (#cite_note-9) References [ edit ] ^ (#cite_ref-1) "Madison Stubbington - Model" (https://models.com/models/madison-stubbington) . ^ Jump up to: a b Hyland, Véronique (15 December 2014). "Saint Laurent's Psych Rock Collection Will Make You Want to Become a Hippie" (https://www.thecut.com/2014/12/saint-laurent-makes-us-want-to-become-hippies.html) . The Cut . ^ Jump up to: a b Wright, Briony (11 December 2014). "madison stubbington is winning over the fashion world with her rare look and positive vibe" (https://i-d.vice.com/en_us/article/xwxy4n/madison-stubbington-is-winning-over-the-fashion-world-with-her-rare-look-and-positive-vibe) . i-D . ^ (#cite_ref-4) Brunker, Alicia (30 March 2015). "Model Watch: 8 Breakout Stars You Need to Know Now" (https://www.elle.com/fashion/celebrity-style/news/g26047/8-breakout-models-from-fashion-month/) . Elle . ^ (#cite_ref-5) "Fire Starters" (https://www.vogue.com/slideshow/the-best-redheads-jessica-chastain-amy-adams-julianne-moore-and-more-photos#6) . Vogue . Condé Nast. 22 July 2014. Having captivated the attention of Hedi Slimane and Nicolas Ghesquière, Madison Stubbington—like Lily Cole, Karen Elson, and Maggie Rizer before her (and Coddington before them)—is already a model to watch. The sixteen-year-old Australian realizes that her scarlet mane is nothing but an asset. "I'm very lucky," Stubbington says. "It sets me apart." ^ (#cite_ref-6) Vlach, Anna (13 September 2018). "Adelaide model Madison Stubbington back home from New York as a happy, healthy size 8" (https://www.adelaidenow.com.au/entertainment/confidential/adelaide-supermodel-madison-stubbington-back-home-from-new-york-as-a-happy-healthy-size-8/news-story/524af1609a7cd7367b12d0469bbfc1fb?nk=c08008d143d8745bbca2594badf84848-1558276202) . Adelaide Now . ^ (#cite_ref-7) Allen, Maya (6 April 2016). "[UPDATED] Gucci Ad Banned for Featuring "Unhealthily Thin" Models" (https://www.cosmopolitan.com/style-beauty/fashion/news/a56400/gucci-cruise-ad-banned-unhealthily-thin-models/) . Cosmopolitan . Hearst Magazine Media. ^ (#cite_ref-8) Marfil, Lorelei (7 April 2016). "Gucci Voices Disagreement Over Contentious Ad" (https://wwd.com/fashion-news/fashion-scoops/gucci-disagreement-ad-campaign-thin-models-britain-asa-10405397/) . WWD . ^ (#cite_ref-9) "Top 50 Models" (https://web.archive.org/web/20151227140202/http://models.com/rankings/ui/Top50-All/16693#16693) . models.com . Archived from the original (http://models.com/rankings/ui/Top50-All/16693#16693) on 27 December 2015 . Retrieved 19 May 2019 . Fiery hair and a quirky beauty all her own make Madison Stubbington a unique proposition. Cutting-edge designers like Hedi Slimane have taken notice, enlisting Madison for a space on their runways and campaigns. This Australian biography article is a stub (/wiki/Wikipedia:Stub) . You can help Wikipedia by expanding it (https://en.wikipedia.org/w/index.php?title=Madison_Stubbington&action=edit) . v t e NewPP limit report Parsed by mw‐api‐ext.codfw.main‐557d6f8488‐hsd2q Cached time: 20240714001801 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1] CPU time usage: 0.393 seconds Real time usage: 0.599 seconds Preprocessor visited node count: 2713/1000000 Post‐expand include size: 37924/2097152 bytes Template argument size: 5613/2097152 bytes Highest expansion depth: 14/100 Expensive parser function count: 4/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 41716/5000000 bytes Lua time usage: 0.276/10.000 seconds Lua memory usage: 8785763/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 573.398 1 -total 38.26% 219.382 1 Template:Infobox_model 22.68% 130.059 1 Template:Australia-bio-stub 22.39% 128.374 1 Template:Asbox 20.75% 118.980 1 Template:Reflist 17.27% 99.029 8 Template:Cite_web 11.72% 67.213 1 Template:Short_description 6.33% 36.313 1 Template:Infobox 6.20% 35.542 2 Template:Pagetype 6.05% 34.679 1 Template:Citation_needed Saved in parser cache with key enwiki:pcache:idhash:59173921-0!canonical and timestamp 20240714001801 and revision id 1165278780. Rendering was triggered because: unknown esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Madison_Stubbington&oldid=1165278780 (https://en.wikipedia.org/w/index.php?title=Madison_Stubbington&oldid=1165278780) " Categories (/wiki/Help:Category) : 1997 births (/wiki/Category:1997_births) Living people (/wiki/Category:Living_people) Australian female models (/wiki/Category:Australian_female_models) People from Adelaide (/wiki/Category:People_from_Adelaide) Australian expatriates in the United States (/wiki/Category:Australian_expatriates_in_the_United_States) Australian people stubs (/wiki/Category:Australian_people_stubs) Hidden categories: Articles with short description (/wiki/Category:Articles_with_short_description) Short description is different from Wikidata (/wiki/Category:Short_description_is_different_from_Wikidata) Use dmy dates from July 2019 (/wiki/Category:Use_dmy_dates_from_July_2019) Use Australian English from May 2019 (/wiki/Category:Use_Australian_English_from_May_2019) All Wikipedia articles written in Australian English (/wiki/Category:All_Wikipedia_articles_written_in_Australian_English) All articles with unsourced statements (/wiki/Category:All_articles_with_unsourced_statements) Articles with unsourced statements from May 2019 (/wiki/Category:Articles_with_unsourced_statements_from_May_2019) Articles with hCards (/wiki/Category:Articles_with_hCards) No local image but image on Wikidata (/wiki/Category:No_local_image_but_image_on_Wikidata) All stub articles (/wiki/Category:All_stub_articles)
New Zealand fashion designer and artist Kristine Crabb Born ( 1978-10-10 ) 10 October 1978 (age 45) Matamata (/wiki/Matamata) , New Zealand Education Whanganui Polytechnic Occupation Fashion designer Labels Ripshit and Bust Miss Crabb Gloria Children Frances, Paddy, Henry Kristine Mary Crabb (born 10 October 1978) is a New Zealand fashion designer and artist. She is known for her Karangahape Road (/wiki/Karangahape_Road) boutique Rip Shit and Bust which ran from 2001 to 2003, and for her fashion label Miss Crabb which ran from 2004 to 2019. In 2020 she launched Gloria, described by Crabb as a wide-ranging creative project. [1] (#cite_note-auto4-1) Crabb's designs have been worn by notable New Zealand women including New Zealand Prime Minister Jacinda Ardern (/wiki/Jacinda_Ardern) , Lorde (/wiki/Lorde) , Bic Runga (/wiki/Bic_Runga) and Anika Moa (/wiki/Anika_Moa) , as well as by other local and international artists, political leaders and musicians and broadcasters. [2] (#cite_note-auto5-2) Crabb's career and work is characterised by its close connection to art, and throughout her career she has undertaken numerous collaborations with notable visual artists, filmmakers and musicians including Richard Orjis (/wiki/Richard_Orjis) , [3] (#cite_note-auto14-3) Florian Habicht (/wiki/Florian_Habicht) , [4] (#cite_note-auto13-4) and Ruth Buchanan (/wiki/Ruth_Buchanan) . [2] (#cite_note-auto5-2) Pieces from the design archives of Miss Crabb sit in the permanent collection of the Auckland War Memorial Museum Tāmaki Paenga Hira (/wiki/Auckland_War_Memorial_Museum) . [5] (#cite_note-auto9-5) Personal life [ edit ] Crabb lives and works in inner-city Auckland, New Zealand. She has three children with the artist Andrew Barber. [3] (#cite_note-auto14-3) Early life [ edit ] Crabb was born in the rural Waikato (/wiki/Waikato) town of Matamata (/wiki/Matamata) on 10 October 1978. She was born to Noeline and Jefferson Crabb, with two older siblings. [ citation needed ] Crabb was raised on a farm next door to her paternal grandmother Gloria Crabb (née Stansel). [6] (#cite_note-auto6-6) Crabb has often noted that her grandmother was a great inspiration for her life and work. [7] (#cite_note-auto-7) An aviator, Gloria Crabb was the second woman to fly the Tasman after Jean Batton. [2] (#cite_note-auto5-2) She was also a motorcyclist and a Labour voter. [7] (#cite_note-auto-7) Crabb attended high school in Hamilton [8] (#cite_note-auto12-8) and started making clothes as a teenager [6] (#cite_note-auto6-6) "as a way of communicating and showing that you're free." [9] (#cite_note-9) In 1996 she commenced study at Whanganui Polytechnic [10] (#cite_note-10) and graduated in 2000. [8] (#cite_note-auto12-8) Career [ edit ] Crabb's designs are described as being defined by their spirit of rebellion, [11] (#cite_note-auto10-11) experimentation and subversion, and romanticism. [7] (#cite_note-auto-7) She has stated that she wanted to make conceptual clothes that possessed a "sense of empowerment and freedom for women – and men as well." [1] (#cite_note-auto4-1) Rip Shit and Bust [ edit ] Crabb established Rip Shit and Bust with Jonelle Hanrahan on Auckland's Karangahape Road in 2001. [12] (#cite_note-auto1-12) The experimental store-cum-studio sold one-off pieces [6] (#cite_note-auto6-6) by her friends from fashion school and art school including Maiangi Waitai of Dead Martin, Janet Tristram, Mack Duggan and Caroline Anderson, as well as Crabb's first label Non. [13] (#cite_note-auto7-13) Non was also stocked in boutiques in New Zealand and Australia. At the time Karangahape Road was a centre for counter-culture in New Zealand and was notorious as Auckland's red-light district. Rip Shit and Bust was also characterised by cultural subversion, and through making and selling one-off pieces Crabb was able to experiment. [14] (#cite_note-auto2-14) In 2003 the Auckland Art Gallery Toi o Tāmaki (/wiki/Auckland_Art_Gallery_Toi_o_T%C4%81maki) invited Rip Shit and Bust to present a show. Miss Crabb [ edit ] In 2004 Crabb established her eponymous label Miss Crabb, which ran until 2019. [15] (#cite_note-auto11-15) An internationally renowned fashion label [7] (#cite_note-auto-7) and a cult brand in New Zealand, [16] (#cite_note-16) Miss Crabb began as an art and business project, [17] (#cite_note-auto3-17) conceived as an alternative way of making and wearing clothes [18] (#cite_note-auto15-18) and as a response to what Crabb viewed as restricting conventions of the fashion industry. [6] (#cite_note-auto6-6) Crabb designed every collection and was the creative director of most aspects of the label. [6] (#cite_note-auto6-6) Miss Crabb was concerned with ecological sustainability, and all collections were produced in New Zealand. [2] (#cite_note-auto5-2) For 15 years the Miss Crabb retail store was located at 41 Ponsonby Road. [19] (#cite_note-19) Originally, the Miss Crabb studio was above the retail store, and was later moved to a location nearby in Ponsonby. [17] (#cite_note-auto3-17) The defining Miss Crabb design and silhouette emerged partly from Crabb's development of sustainable production processes; Crabb's patterns were created from geometric shapes that utilised an entire piece of fabric, ensuring that there was no surplus waste. [20] (#cite_note-auto8-20) Often cut in silk, this method resulted in clothes that could be tied, draped and wrapped in numerous ways, creating a distinct volume and garments with fluid, changeable silhouettes. [20] (#cite_note-auto8-20) The fluidity of Miss Crabb garments also reflected Crabb's unconventional commitment to designing clothes for a broad range of body sizes and shapes. [21] (#cite_note-auto16-21) Many Miss Crabb dresses were one-size and suitable for diverse bodies; sizing ranged upwards of size 18, and included clothes suitable for full-term pregnancy, nursing, and postnatal bodies. [21] (#cite_note-auto16-21) As well as being sold in the Miss Crabb boutique, the label was stocked extensively in stores in New Zealand, Australia, and Los Angeles. Miss Crabb has been worn by prominent New Zealand figures including Jacinda Ardern and Lorde, as well as Parris Goebel (/wiki/Parris_Goebel) , Connan Mockasin (/wiki/Connan_Mockasin) , and Amelie Pichard. [ citation needed ] In 2018 Crabb announced the closure of Miss Crabb, news which was met by surprise from the local industry and media, and was extensively covered by the New Zealand press. [15] (#cite_note-auto11-15) In an interview for The New Zealand Herald she explained that she felt the Miss Crabb project had been a collaboration of "creative minds and kindred spirits" which was now finished, and that she was looking forward to spending more time with her children. [2] (#cite_note-auto5-2) Following the closure, pieces from the label's archives were acquired by the Auckland War Memorial Museum Tāmaki Paenga Hira. [5] (#cite_note-auto9-5) In 2019 pieces from the Miss Crabb archive and art collection were sold by fine art auction house Webb's in "The Estate of Miss Crabb." [11] (#cite_note-auto10-11) Collaborations [ edit ] Miss Crabb was defined by its connections with broader cultural scenes, and the label was involved in numerous collaborations with visual artists, filmmakers, and musicians. Of note is Crabb's ongoing collaborative relationship with artist Richard Orjis, who has photographed numerous Miss Crabb campaigns. [ citation needed ] From 2005 the window of the Miss Crabb boutique housed the art gallery dep_art_ment. [11] (#cite_note-auto10-11) The gallery was founded and run by Orjis, and later run by the artist Erica Van Zon. During its course the window gallery showed works by emerging artists including Fiona Connor (/wiki/Fiona_Connor) , Simon Denny (/wiki/Simon_Denny_(artist)) , Kate Newby (/wiki/Kate_Newby) , Andrew Barber, Seung Yul Oh, and Tessa Laird. [11] (#cite_note-auto10-11) In 2005 the artist Fiona Connor created a replica of the front door of the Miss Crabb store, titled Miss Crabb Door, which now belongs in the permanent collection of the Dunedin Public Art Gallery (/wiki/Dunedin_Public_Art_Gallery) . [22] (#cite_note-22) In 2017 the filmmakers Florian Habicht and Teresa Peters directed and starred in a film for the "Romantica" collection. [4] (#cite_note-auto13-4) Later collaborations included projects with artist Areez Katki, [3] (#cite_note-auto14-3) with photographers Andrei Blidarean and Oliver Guyon, [12] (#cite_note-auto1-12) and with artist Anna Sisson and DJ Creamy Mami. [18] (#cite_note-auto15-18) Gloria [ edit ] In 2019 Crabb announced her next project Gloria, described by Crabb as "a dedication to my divine grandmother, her strength and love of life, curiosity and beauty." [14] (#cite_note-auto2-14) Gloria is conceived by Crabb as a wide ranging creative project, and will include a perfume collaboration with New Zealand perfumer Tiffany Witehira of Curionoir. [1] (#cite_note-auto4-1) References [ edit ] ^ a b c Crabb, Kristine (20 November 2019). “Bookmarks: Kristine Crabb” (https://www.rnz.co.nz/national/programmes/afternoons/audio/2018723207/bookmarks-kristine-crabb) . RNZ (/wiki/Radio_New_Zealand) (Interview). Interviewed by Jesse Mulligan. Wellington: New Zealand Broadcasting Corporation. ^ a b c d e McCarthy, Noelle (5 December 2018). "Why It's The End Of An Era For Cult New Zealand Brand Miss Crabb" (https://www.viva.co.nz/article/fashion/end-of-era-nz-label-miss-crabb/) New Zealand Herald (/wiki/New_Zealand_Herald) . Auckland: NZME. Retrieved 29 November 2020. ^ a b c Walker, Zoe (18 July 2012). "Miss Crabb's tired eyes belie a fiery creativity" (https://www.nzherald.co.nz/lifestyle/miss-crabbs-tired-eyes-belie-a-fiery-creativity/FHX%20G72ARDFCHYVZ7OEVD6UKFR4/) New Zealand Herald. Auckland: NZME. Retrieved 29 November 2020. ^ a b Hazlehurst, Beatrice (11 June 2018). "Miss Crabb Wants Femininity Back in Fashion" (https://www.papermag.com/miss-crabb-premiere-2577209425.html) . Paper (/wiki/Paper_(magazine)) . New York: Paper Communications . Retrieved 29 November 2020 . ^ a b Cucchiara, Lula (2019, 19 March 2019). "The Auckland Museum Acquires Miss Crabb's Archives" (https://www.viva.co.nz/article/fashion/watch-the-auckland-museum-acquires-miss-crabbs-archives/) . New Zealand Herald (/wiki/New_Zealand_Herald) . Auckland: NZME. Retrieved 29 November 2020. ^ a b c d e "Kristine Crabb, Miss Crabb" (https://apparelmagazine.co.nz/blog/kristine-crabb-miss-crabb/) . Apparel Magazine . Auckland: Review Publishing. 28 November 2016 . Retrieved 29 November 2020 . ^ a b c d Mulligan, Jesse (20 November 2019). “Bookmarks: Kristine Crabb” (https://www.rnz.co.nz/national/programmes/afternoons/audio/2018723207/bookmarks-kristine-crabb) . RNZ (/wiki/Radio_New_Zealand) (Interview). Interviewed by Jesse Mulligan. Wellington: New Zealand Broadcasting Corporation. ^ a b Crabb, Kristine (18 December 2017). "Kristine Crabb – Ramp Festival" (https://www.rampfestival.co.nz/speakers-and-events/kristine-crabb-3/) (Interview). Interviewed by Leonie Hayden . Retrieved 29 November 2020 . ^ (#cite_ref-9) Crabb, Kristine (19 February 2019). Kirstine Crabb: Miss Crabb (https://www.youtube.com/watch?v=cDXLABTUjnU&ab_channel=CreativeMorningsHQ) . Creative Mornings. Auckland, New Zealand. ^ (#cite_ref-10) "Simple design reigns supreme". 12 November 1999. The Dominion Post . Stuff LTD. Retrieved 29 November 2020. ^ a b c d "The Estate of Miss Crabb" (https://www.webbs.co.nz/news/the-estate-of-miss-crabb/) . ^ a b "Designer Kristine Crabb Announces Closure of Miss Crabb" (https://fashionz.co.nz/designer-kristine-crabb-announces-closure-of-miss-crabb/) . FashioNZ . Auckland, New Zealand: Vestis Media. 5 December 2018 . Retrieved 29 November 2020 . ^ (#cite_ref-auto7_13-0) Hayden, Leonie (18 December 2017). "Kristine Crabb – Ramp Festival" (https://www.rampfestival.co.nz/speakers-and-events/kristine-crabb-3/) (Interview). Interviewed by Leonie Hayden . Retrieved 29 November 2020 . ^ a b Jezdic, Dina. (24 June 2020). " Time for Radical Change (https://www.thebigidea.nz/stories/time-for-radical-change) ". The Big Idea . Retrieved 29 November 2020. ^ a b "New Zealand brand Miss Crabb to close" (https://www.stuff.co.nz/life-style/fashion/109099806/new-zealand-brand-miss-crabb-to-close) . Stuff . Auckland, New Zealand. 5 December 2018 . Retrieved 29 November 2020 . ^ (#cite_ref-16) Lee, Hannah (19 October 2016). "NZ fashion designer Miss Crabb to show at Len Lye". Taranaki Daily News. New Plymouth, New Zealand. ^ a b Kenyon, Greta (10 June 2016). "Creative Lives: Kristine Crabb". Together Journal (https://togetherjournal.com/creative-lives-kristine-crabb/) . Retrieved 29 November 2020. ^ a b Crabb, Kristine (19 February 2019). Kirstine Crabb: Miss Crabb (https://www.youtube.com/watch?v=cDXLABTUjnU&ab_channel=CreativeMorningsHQ) . Creative Mornings. Auckland, New Zealand ^ (#cite_ref-19) "Interview: Kristine Crabb" (https://www.mipiaci.co.nz/blog/kristine-crabb) . www.mipiaci.co.nz . ^ a b Sly, Sonia (29 October 2017). " Defusing Fashion's Ticking Time Bomb (https://www.rnz.co.nz/programmes/my-heels-are-killing-me/story/2018619321/defusing-fashion-s-ticking-time-bomb) ". RNZ. Wellington: New Zealand Broadcasting Corporation. ^ a b Gorrell Anstiss, Celeste (5 February 2012). "Slim pickings at fashion stores". Herald on Sunday. Auckland, New Zealand. ^ (#cite_ref-22) "Miss Crabb Door" (https://dunedin.art.museum/exhibitions/past/additions-alterations/miss-crabb-door/) . Dunedin Public Art Gallery . 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Polish model Zuzanna Bijoch Zuzanna Bijoch in 2013 Born ( 1994-06-20 ) 20 June 1994 (age 30) [2] (#cite_note-2) Katowice (/wiki/Katowice) , Poland (/wiki/Poland) Nationality Polish (/wiki/Polish_people) Other names Zuza Bijoch Modeling information Height 1.80 m (5 ft 11 in) Hair color Brown Eye color Green Agency Next Management (/wiki/Next_Management) (New York, Paris, Milan, London, Los Angeles, Miami) View Management (Barcelona) 2pm Model Management (Copenhagen) Modelwerk (Hamburg) MIKAs (Stockholm) Chic Management (Sydney) D'VISION (Warsaw) [1] (#cite_note-1) Zuzanna Bijoch (born 20 June 1994 in Katowice (/wiki/Katowice) , Poland) is a Polish fashion model. Career [ edit ] Bijoch was discovered at a modeling competition in Poland and booked a Prada campaign while in high school. [3] (#cite_note-3) She debuted at Georges Chakra in 2010 and walked for the spring Jason Wu (/wiki/Jason_Wu) , Topshop Unique (/wiki/Topshop) , Salvatore Ferragamo (/wiki/Salvatore_Ferragamo) , Marni (/wiki/Marni) , and Prada (/wiki/Prada) ; [4] (#cite_note-4) she Miu Miu (/wiki/Miu_Miu) exclusive in the S/S 2011 season and did a Prada campaign. [5] (#cite_note-5) For her work with Alexander McQueen (/wiki/Alexander_McQueen) , Valentino (/wiki/Valentino_(fashion_house)) , Gucci (/wiki/Gucci) , and Chloé (/wiki/Chlo%C3%A9) , she was ranked on models.com’s “Top 50” list from 2014. [6] (#cite_note-6) She has also modeled for Givenchy (/wiki/Givenchy) , Marc Jacobs (/wiki/Marc_Jacobs) and a Louis Vuitton (/wiki/Louis_Vuitton) campaign. [7] (#cite_note-7) Bijoch walked over 50 shows in the 2011/12 season including Thakoon (/wiki/Thakoon) , Narciso Rodriguez (/wiki/Narciso_Rodriguez) , Nina Ricci (/wiki/Nina_Ricci_(brand)) , Victoria Beckham (/wiki/Victoria_Beckham) , Gianfranco Ferré (/wiki/Gianfranco_Ferr%C3%A9) , Moschino (/wiki/Moschino) , and Balenciaga (/wiki/Balenciaga) (which she closed). [8] (#cite_note-8) Bijoch has been a guest judge on Poland’s Top Model (/wiki/Top_Model_(Polish_TV_series)) . [9] (#cite_note-9) Personal life [ edit ] In 2023, Bijoch graduated summa cum laude (/wiki/Summa_cum_laude) from Columbia University (/wiki/Columbia_University) with a bachelor's degree in financial economics (/wiki/Financial_economics) . She was valedictorian (/wiki/Valedictorian) of the School of General Studies (/wiki/Columbia_University_School_of_General_Studies) . The same year, she accepted a position at BDT & MSD Partners (/wiki/BDT_%26_MSD_Partners) , a merchant bank headquartered in New York City. [10] (#cite_note-10) [11] (#cite_note-11) References [ edit ] ^ (#cite_ref-1) "Zuzanna Bijoch - Model" (https://models.com/models/zuzanna-bijoch) . models.com. ^ (#cite_ref-2) "Model-Portrait" (https://www.elle.de/models/zuzanna-bijoch) . Elle Deutschland . Burda Hearst Publications. ^ (#cite_ref-3) "Model Wall: Zuzanna Bijoch" (https://www.vogue.com/article/model-wall-zuzanna-bijoch) . Vogue . ^ (#cite_ref-4) "Zuzanna Bijoch-Model Profile" (https://web.archive.org/web/20140122225318/http://nymag.com/fashion/models/zbijoch/zuzannabijoch/) . New York Magazine . Archived from the original (http://nymag.com/fashion/models/zbijoch/zuzannabijoch/) on 22 January 2014 . Retrieved 25 May 2019 . ^ (#cite_ref-5) "Model Behaviour: Zuzanna Bijoch" (http://www.dazeddigital.com/fashion/article/15628/1/model-behaviour-zuzanna-bijoch) . Dazed . ^ (#cite_ref-6) "Top 50 Models: 30-26" (https://web.archive.org/web/20130812161329/http://models.com/rankings/ui/Top50/8255) . Models.com . Archived from the original (http://models.com/rankings/ui/Top50/8255) on 2013-08-12 . Retrieved January 7, 2019 . ^ (#cite_ref-7) "This week's model: Zuzanna Bijoch" (https://www.wmagazine.com/story/model-zuzanna-bijoc) . W . ^ (#cite_ref-8) "Zuzanna Bijoch" (https://www.elle.de/models/zuzanna-bijoch) . Elle (/wiki/Elle_(magazine)) Germany . ^ (#cite_ref-9) "Top Model 2018: odcinek 6. Kto odpadł z Top Model 7? Wśród gości Zuzia Bijoch i Robert Kupisz" (https://www.glamour.pl/artykul/top-model-2018-odcinek-6-kto-odpadl-z-top-model-7-wsrod-gosci-zuzia-bijoch-i-robert-kupisz-181008091926) . Glamour Poland . ^ (#cite_ref-10) "ZUZANNA BIJOCH dostała się na studia w Nowym Jorku! Na który uniwersytet? Sprawdź!" (https://www.gala.pl/artykul/zuzanna-bijoch-bedzie-studiowac-na-columbia-university-dostala-sie-na-uniwersytet-w-nowym-jorku-polska-modelka-na-amerykanskim-uniwersytecie-180507035032) . Gala Poland . ^ (#cite_ref-11) "GS Class Day Valedictorian and Salutatorian Announced for 2023" (https://www.gs.columbia.edu/news/gs-class-day-valedictorian-and-salutatorian-announced-2023) . Columbia University School of General Studies . Retrieved 12 June 2023 . 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Australian fashion designer Ruth Tarvydas Born Ruta Anna Tarvydas c. 1947 Kempten (/wiki/Kempten) , Germany [1] (#cite_note-twa-1) Died ( 2014-05-16 ) 16 May 2014 (aged 66) East Perth, Western Australia (/wiki/East_Perth,_Western_Australia) Nationality Australian Ruta Anna "Ruth" Tarvydas (c. 1947 – 16 May 2014) was an Australian fashion designer (/wiki/Fashion_design) . She opened her first boutique at the age of 19, with her brother, and shortly after established her first label. In 1983, Taryvdas became the first Australian designer to export clothing overseas. By the 2000s, she had designs being sold in 170 outlets across 16 countries, with a number of celebrity clients, both in Australia and overseas. A flagship store in King Street, Perth (/wiki/King_Street,_Perth) , was opened in 2009, but closed three years later with Tarvydas in heavy debt. A new store was opened in Claremont (/wiki/Claremont,_Western_Australia) in 2012, and was featured with Tarvydas in a 2013 ABC1 (/wiki/ABC_(Australian_TV_channel)) documentary. Tarvydas was to debut at Paris Fashion Week (/wiki/Paris_Fashion_Week) in 2014, but she died two months before the event. Early life [ edit ] Ruth Tarvydas was born to Lithuanian (/wiki/Lithuania) parents, Martynas and Ursula Tarvydas in Kempten (/wiki/Kempten) , Germany. [1] (#cite_note-twa-1) [2] (#cite_note-sheilas-2) In 1949, when Ruth was around two years old, her family emigrated from post-war Germany to Australia, where they settled in Tuart Hill, Western Australia (/wiki/Tuart_Hill,_Western_Australia) . [1] (#cite_note-twa-1) [3] (#cite_note-wag-3) Fashion design [ edit ] Early career [ edit ] Before entering fashion design, Tarvydas studied nursing and briefly worked as a secretary for a lawyer and an eye specialist. [4] (#cite_note-safe-4) Aged 19, Tarvydas and her brother Harvey opened a small boutique on Hay Street, Perth (/wiki/Hay_Street,_Perth) , making her possibly Australia's youngest boutique owner at the time. [5] (#cite_note-abc-5) Her first label, 'Ruta', was established in 1968. [6] (#cite_note-curtin-6) She was described as 'the designer who brought boho chic (/wiki/Boho_chic) to 1960s Perth.' [7] (#cite_note-paige-7) By 1976, Tarvydas was enjoying success as an ambitious fashion designer, selling her audacious designs from an establishment on Murray Street, Perth (/wiki/Murray_Street,_Perth) . [2] (#cite_note-sheilas-2) Tarvydas became the first Australian fashion label to export overseas, stocking its designs in Selfridges (/wiki/Selfridges) , London, in 1983. [5] (#cite_note-abc-5) [3] (#cite_note-wag-3) She was also carried by New York's Saks Fifth Avenue (/wiki/Saks_Fifth_Avenue) around the same time, but during the economic downturn of the late 1980s was forced to close her Australian retail stores. [4] (#cite_note-safe-4) 2000s onward [ edit ] In addition to Australian celebrities such as Delta Goodrem (/wiki/Delta_Goodrem) , Sonia Kruger (/wiki/Sonia_Kruger) , and the former Miss Universe Jennifer Hawkins (/wiki/Jennifer_Hawkins) , Tarvydas counted Rihanna (/wiki/Rihanna) , Leona Lewis (/wiki/Leona_Lewis) , Kim Kardashian (/wiki/Kim_Kardashian) , and Kimberly Stewart (/wiki/Kimberly_Stewart) among her clients. [6] (#cite_note-curtin-6) However, her best known client was probably Rebecca Twigley (/wiki/Rebecca_Judd) , for whom Tarvydas designed a notorious red dress (/wiki/Red_Tarvydas_dress_of_Rebecca_Twigley) in 2004. [6] (#cite_note-curtin-6) [8] (#cite_note-Fjeldstad-8) [9] (#cite_note-mccann-9) When Twigley wore the dress to the 2004 Brownlow Medal (/wiki/2004_Brownlow_Medal) ceremony (the medal was awarded to her then boyfriend and future husband, Chris Judd (/wiki/Chris_Judd) ), she attracted a great deal of media attention. [8] (#cite_note-Fjeldstad-8) On News.com.au (/wiki/News.com.au) Twigley's appearance eclipsed coverage for Jennifer Hawkins who was crowned Miss Universe 2004 (/wiki/Miss_Universe_2004) at the same time, and broke previous records for a single news day. [9] (#cite_note-mccann-9) The dress continued receiving ongoing coverage, [10] (#cite_note-Ganska-10) [11] (#cite_note-Papain-11) and, worn by another model, was the final gown in the Tarvydas tribute show at the Perth Fashion Festival. [12] (#cite_note-pfw-12) Rebecca Judd opened the tribute show wearing another Tarvydas dress that had been designed for her to wear in a Paco Rabanne (/wiki/Paco_Rabanne) perfume advertisement in 2010. [12] (#cite_note-pfw-12) By 2008, Tarvydas had designs sold in 16 countries around the world, exporting designs to over 170 outlets. [6] (#cite_note-curtin-6) That year, a Tarvydas retrospective was held in the museum of the Curtin University (/wiki/Curtin_University) . [6] (#cite_note-curtin-6) The following year, she designed the dress that Rachael Finch (/wiki/Rachael_Finch) , Miss Universe Australia (/wiki/Miss_Universe_Australia) 2009, wore as Australia's "national costume" at the Miss Universe 2009 (/wiki/Miss_Universe_2009) pageant. [13] (#cite_note-13) Tarvydas opened a flagship boutique on King Street, Perth (/wiki/King_Street,_Perth) , in July 2009, [14] (#cite_note-14) but the store was forced to close in October 2012 due to high rental costs. [15] (#cite_note-15) It was replaced by a Chanel (/wiki/Chanel) boutique. [16] (#cite_note-16) By the early 2010s, Tarvydas' business found itself increasingly in financial difficulties, entering administration in 2012, at the time the King Street boutique closed. [1] (#cite_note-twa-1) [5] (#cite_note-abc-5) [17] (#cite_note-mc-17) However, in December 2012, supported by businessman John Bond, Tarvydas opened a new shop in Claremont (/wiki/Claremont,_Western_Australia) . [1] (#cite_note-twa-1) The following year, Ruth Tarvydas and her business were one of the subjects of a six-part documentary on Perth entrepreneurs, Boomtown , aired by ABC Television (/wiki/ABC_Television_(Australian_TV_network)) , which told the story of the company and its financial difficulties. [7] (#cite_note-paige-7) [17] (#cite_note-mc-17) Death [ edit ] On the morning of 16 May 2014, Tarvydas was found dead on the street outside her apartment, where she is believed to have fallen from a 14th-floor balcony in unsuspicious circumstances. [1] (#cite_note-twa-1) [17] (#cite_note-mc-17) She had reportedly failed to meet a deadline the preceding day for repayment of a $100,000 debt to ANZ Banking Group (/wiki/Australia_and_New_Zealand_Banking_Group) . [1] (#cite_note-twa-1) Tarvydas was to have made her Paris Fashion Week (/wiki/Paris_Fashion_Week) debut in July 2014. [18] (#cite_note-18) Her funeral, at Karrakatta Cemetery (/wiki/Karrakatta_Cemetery) , was open to the public, and attended by the Foreign Minister (/wiki/Minister_for_Foreign_Affairs_(Australia)) Julie Bishop (/wiki/Julie_Bishop) and by the Lord Mayor of Perth (/wiki/Lord_Mayor_of_Perth) , Lisa Scaffidi (/wiki/Lisa_Scaffidi) . [1] (#cite_note-twa-1) References [ edit ] ^ Jump up to: a b c d e f g h McRae, Ross (9 June 2014). "Fashion world mourns Tarvydas" (https://au.news.yahoo.com/thewest/a/24197503/fashion-world-mourns-tarvydas) . The West Australian . Retrieved 17 October 2014 . ^ Jump up to: a b Larkins, John (1976). Sheilas: a tribute to Australian women (1. publ. ed.). Adelaide: Rigby. p. 119. ISBN (/wiki/ISBN_(identifier)) 9780727002075 . ^ Jump up to: a b "Making Australia HOME: Fashion designers Ruth Tarvydas and Aurelio Costarella" (http://museum.wa.gov.au/whats-on/making-australia-home-fashion-designers-ruth-tarvydas-and-aurelio-costarella) . Western Australia Museum . Government of West Australia . Retrieved 17 October 2014 . ^ Jump up to: a b Georgina Safe (16 September 2009). "Queen of the cut-out" (http://www.theaustralian.com.au/executive-living/fashion/queen-of-the-cut-out/story-e6frg8k6-1225774057132?nk=d6900d7020535d81febfc61b7e26f04d) – The Australian . Retrieved 30 October 2014. ^ Jump up to: a b c Staff writer (17 May 2014). "Australian fashion designer Ruth Tarvydas found dead" (http://www.abc.net.au/news/2014-05-16/fashion-designer-ruth-tarvydas-dead/5458486) . ABC News . Retrieved 17 October 2014 . ^ Jump up to: a b c d e Billstein, Monique (22 July 2008). "House of Tarvydas, a retrospective, at the JCG" (http://news.curtin.edu.au/media-releases/house-of-tarvydas-a-retrospective-at-the-jcg/) . John Curtin Museum . Curtin University . Retrieved 17 October 2014 . ^ Jump up to: a b Taylor, Paige (17 May 2014). "Friends baffled by death of designer Ruth Tarvydas" (http://www.theaustralian.com.au/news/nation/friends-baffled-by-death-of-designer-ruth-tarvydas/story-e6frg6nf-1226920726719?nk=d1f6ec154da370a5a5ec74a11344b517) . The Australian . Retrieved 18 October 2014 . ^ Jump up to: a b Fjeldstad, Jesper; Dawe, Peter; Barich, Anthony (10 October 2004). "Rebecca wows them with another winner". Sunday Mail . p. 72. ^ Jump up to: a b McCann, Edwina (24 September 2004). "A dash of red goes a long way". The Australian . p. 18. ^ (#cite_ref-Ganska_10-0) Ganska, Helen (7 January 2007). "Rebecca Twigley's new TV role" (http://www.news.com.au/perthnow/story/0,21598,21020105-5007222,00.html) . Sunday Times . p. 3. ^ (#cite_ref-Papain_11-0) Papain, Jessie (19 September 2014). "Judd pays tribute to Tarvydas" (https://au.news.yahoo.com/thewest/full-coverage/perth-fashion-festival-2014/a/25053532/judd-pays-tribute-to-tarvydas/) . The West Australian (/wiki/The_West_Australian) . ^ Jump up to: a b Davies, Claire; Uren, Kate. "Telstra Perth Fashion Festival: Day three" (https://archive.today/20141017133457/http://www.perthnow.com.au/lifestyle/perth-fashion-festival/telstra-perth-fashion-festival-day-three/story-fnj08do5-1227063403921) . Perth Now . Archived from the original (http://www.perthnow.com.au/lifestyle/perth-fashion-festival/telstra-perth-fashion-festival-day-three/story-fnj08do5-1227063403921) on 17 October 2014 . Retrieved 17 October 2014 . ^ (#cite_ref-13) Wendy Caccetta (2 July 2009). "Ruth Tarvydas unveils Miss Universe Australia's dress" (http://www.perthnow.com.au/news/ruth-tarvydas-unveils-miss-universe-australias-dress/story-e6frg12c-1225745118251) – PerthNow. Retrieved 30 October 2014. ^ (#cite_ref-14) Daile Pepper (1 July 2009). "King St is shock frock central tonight" (http://www.brisbanetimes.com.au/lifestyle/king-st-is-shock-frock-central-tonight-20090630-d3k2.html) – The Brisbane Times. Retrieved 30 October 2014. ^ (#cite_ref-15) Aleisha Orr (10 October 2012). "Tarvydas shuts King Street boutique door" (http://www.watoday.com.au/wa-news/tarvydas-shuts-king-street-boutique-door-20121010-27d9v.html) – WAtoday. Retrieved 30 October 2014. ^ (#cite_ref-16) Jenna Clarke (15 October 2012). "Ruth still has Universal appeal" (http://www.watoday.com.au/wa-news/ruth-still-has-universal-appeal-20121015-27lwu.html) – WAtoday. Retrieved 30 October 2014. ^ Jump up to: a b c Staff writer (May 16, 2014). "Perth fashion designer Ruth Tarvydas has been found dead outside her home" (https://web.archive.org/web/20141024100044/https://au.lifestyle.yahoo.com/marie-claire/fashion/news/a/23575573/australian-fashion-designer-ruth-tarvydas-found-dead/) . Marie Claire . Archived from the original (https://au.lifestyle.yahoo.com/marie-claire/fashion/news/a/23575573/australian-fashion-designer-ruth-tarvydas-found-dead) on October 24, 2014 . Retrieved October 17, 2014 . ^ (#cite_ref-18) "Tarvydas to debut in Paris" (https://au.news.yahoo.com/thewest/lifestyle/a/21017756/tarvydas-to-debut-in-paris/) – The West Australian . Retrieved 30 October 2014. Further reading [ edit ] House of Tarvydas . Bentley, W.A.: John Curtin Gallery. 2008. ISBN (/wiki/ISBN_(identifier)) 9781740675840 . 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Rendering was triggered because: api-parse esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Ruth_Tarvydas&oldid=1167222385 (https://en.wikipedia.org/w/index.php?title=Ruth_Tarvydas&oldid=1167222385) " Categories (/wiki/Help:Category) : 1947 births (/wiki/Category:1947_births) 2014 deaths (/wiki/Category:2014_deaths) Australian fashion designers (/wiki/Category:Australian_fashion_designers) Australian women fashion designers (/wiki/Category:Australian_women_fashion_designers) Australian people of Lithuanian descent (/wiki/Category:Australian_people_of_Lithuanian_descent) German emigrants to Australia (/wiki/Category:German_emigrants_to_Australia) People from Perth, Western Australia (/wiki/Category:People_from_Perth,_Western_Australia) Burials at Karrakatta Cemetery (/wiki/Category:Burials_at_Karrakatta_Cemetery) Suicides by jumping in Australia (/wiki/Category:Suicides_by_jumping_in_Australia) Suicides in Western Australia (/wiki/Category:Suicides_in_Western_Australia) 2014 suicides (/wiki/Category:2014_suicides) Hidden categories: Articles with short description (/wiki/Category:Articles_with_short_description) Short description matches Wikidata (/wiki/Category:Short_description_matches_Wikidata) Use Australian English from June 2020 (/wiki/Category:Use_Australian_English_from_June_2020) All Wikipedia articles written in Australian English (/wiki/Category:All_Wikipedia_articles_written_in_Australian_English) Use dmy dates from June 2020 (/wiki/Category:Use_dmy_dates_from_June_2020) Articles with hCards (/wiki/Category:Articles_with_hCards)
British fashion designer Michael Sherard Sherard at a spring fashion gala in 1957 Born Malcolm Henry Sherrard [1] (#cite_note-NPG_Sherard-1) ( 1910-07-17 ) 17 July 1910 Kingston-upon-Thames (/wiki/Kingston-upon-Thames) , Surrey (/wiki/Surrey) , United Kingdom Died 26 December 1998 (1998-12-26) (aged 88) [2] (#cite_note-Indie_Pick-2) London (/wiki/London) , United Kingdom Occupation Fashion designer Notable credit(s) Fellow of the Royal Society of Arts (/wiki/Royal_Society_of_Arts) , 1966 Michael Sherard (17 July 1910 – 26 December 1998) was a British fashion designer and a member of the Incorporated Society of London Fashion Designers (/wiki/Incorporated_Society_of_London_Fashion_Designers) , which represented the British couture (/wiki/Haute_couture) industry in the wartime (/wiki/World_War_II) and post-war years. Operating his own label from the 1940s to 1960s, he is remembered primarily for his evening and occasion gowns. He also helped train future British designers, including Caroline Charles (/wiki/Caroline_Charles) , and was later a design academic. Early life and career [ edit ] Michael Sherard was born Malcolm Henry Sherrard, recorded in portraits of his family now held by the National Portrait Gallery (/wiki/National_Portrait_Gallery,_London) . [1] (#cite_note-NPG_Sherard-1) Later he would change his professional name, but insist that he was not a couturier but a dressmaker. [2] (#cite_note-Indie_Pick-2) Eustace and Ida Sherrard had five other sons and lived in Kingston-upon-Thames (/wiki/Kingston-upon-Thames) , then part of the county of Surrey (/wiki/Surrey) . Sherard's father was a City (/wiki/City_of_London) solicitor and his grandfather George C. Sherrard had been mayor of Kingston three times. [2] (#cite_note-Indie_Pick-2) [3] (#cite_note-Kingston-3) Sherard was educated at Berkhamsted School (/wiki/Berkhamsted_School) , where one of his teachers developed his love of the classics (/wiki/Classical_civilisation) and encouraged his interest in drawing and theatre. [2] (#cite_note-Indie_Pick-2) He refused to follow his father and study law and was instead enrolled at Westminster School of Art (/wiki/Westminster_School_of_Art) , graduating in 1931. [2] (#cite_note-Indie_Pick-2) He showed his work to Norman Hartnell (/wiki/Norman_Hartnell) – already a leading name in London couture – who turned him down as an assistant, recommending that he go to Paris. With his first choice rejecting him, Sherard secured a role as assistant to Peter Russell (/wiki/Peter_Russell_(fashion_designer)) , known for his no-nonsense manner and designs for country ladies. [2] (#cite_note-Indie_Pick-2) While the two were not natural soulmates, Sherard did learn the business practicalities of running a couture house, but the stress of his job led to a duodenal ulcer (/wiki/Duodenal_ulcer) . He spent the war (/wiki/World_War_II) years in the Admiralty (/wiki/British_Admiralty) as an assistant in the trade division censoring cables (/wiki/Diplomatic_cable) . [2] (#cite_note-Indie_Pick-2) Establishment of label [ edit ] One of Peter Russell's couture clients, the opera singer Ruth Vincent (/wiki/Ruth_Vincent) , introduced Sherard to her son John Fraser. The two became business partners and the Michael Sherard showroom opened in 1945 at 24 Connaught Street (/wiki/Connaught_Street) , Marble Arch (/wiki/Marble_Arch) ; much of the financial backing came from their families. When the business opened, Peter Russell – who had by now also lost his client Ruth Vincent to Norman Hartnell because of his temper – is said to have remarked that Sherard was: "the wrong side of Edgware Road". [2] (#cite_note-Indie_Pick-2) Although Sherard's salon was not in the best London location, his charm and attention to detail soon drew prestigious clients, including Margot Fonteyn (/wiki/Margot_Fonteyn) , Margaret Lockwood (/wiki/Margaret_Lockwood) , Phyllis Calvert (/wiki/Phyllis_Calvert) and Gladys Cooper (/wiki/Gladys_Cooper) . [2] (#cite_note-Indie_Pick-2) One of his early collections was sold to Chicago department store Marshall Field's (/wiki/Marshall_Field%27s) , a significant boost for his business and British couture's reputation. [2] (#cite_note-Indie_Pick-2) In 1948, he joined the Incorporated Society of London Fashion Designers – entrance required a vote from existing members – making him one of the leading names in London fashion design. [4] (#cite_note-How_Fashion_Works_Waddell-4) Sherard not only created gowns for private clients, but also costumes for some 30 West End (/wiki/West_End_Theatre) theatre productions, including The Mousetrap (/wiki/The_Mousetrap) and The Reluctant Debutante (/wiki/The_Reluctant_Debutante_(play)) , during this period. [2] (#cite_note-Indie_Pick-2) His business had support from other members of the family, with his sister-in-law – referred to in a newspaper article simply as "Mrs Sherrard", the wife of his brother Peter – acting as his chief assistant, taking charge of the label's publicity and providing advice on collections. [5] (#cite_note-SMH_women-5) By 1952, Sherard had accrued enough funds and reputation to move to a new salon in Curzon Street, Mayfair (/wiki/Mayfair) and he also lived in nearby Albany (/wiki/Albany_(London)) for two years, sharing a grand apartment at a stellar London address with Fraser and two dachshunds Hansel and Humperdinck; it was the location of many parties. [2] (#cite_note-Indie_Pick-2) The events surrounding the Coronation of Elizabeth II (/wiki/Coronation_of_Elizabeth_II) created more business for the firm, with some 40 assistants creating outfits for a growing clientele. [2] (#cite_note-Indie_Pick-2) Brand hallmarks [ edit ] Lavish occasion outfits – whether New Look (/wiki/Christian_Dior_S.A.#The_.22New_Look.22) -inspired ballgowns or slimline and classical sheath dresses (/wiki/Sheath_dress) – were Sherard's forte and his bestsellers. [2] (#cite_note-Indie_Pick-2) Throughout the 1950s and early '60s, he developed variations on these themes, such as a black lace and taffeta flamenco-style cocktail dress that is now part of the Victoria and Albert Museum (/wiki/Victoria_and_Albert_Museum) (V&A) archive and featured in its 2007 exhibition The Golden Age of Couture . [6] (#cite_note-Frist_Center-6) A 1961 review of his spring lines syndicated (/wiki/Print_syndication) to the US and Canadian press describes his use of the 'wagtail' line (short at the front tapering to long at the back) on jackets. The review noted that he had even used this style to create a bolero (/wiki/Bolero_jacket) with full-length train for the bridal gown in his show's finale. [7] (#cite_note-Ottawa_Citizen_Groarke-7) [8] (#cite_note-KS_wagtail-8) Later career [ edit ] In the early 1950s Sherard attempted to branch out into ready-to-wear with a line known as Pumkin, but this proved unsuccessful. [2] (#cite_note-Indie_Pick-2) In common with other London couturiers, he found business increasingly difficult in the 1960s because of high production costs and the emergence of a new breed of youth-focused ready-to-wear designers. Sherard closed his business in 1964 and went on to lecture at London and Shoreditch Colleges of Fashion (/wiki/London_College_of_Fashion) as a second career. [2] (#cite_note-Indie_Pick-2) He was elected fellow of the Royal Society of Arts (/wiki/Royal_Society_of_Arts) (RSA) in 1966 and also became closely involved with the City liveries (/wiki/Livery_company) , acting as master of the Worshipful Company of Girdlers (/wiki/Worshipful_Company_of_Girdlers) (1959–60) and helping to organise the rebuilding of Girdlers' Hall (bombed during the war), for which he also laid the foundation stone. [2] (#cite_note-Indie_Pick-2) The stone laid is inscribed with Sherard's birth name – Malcolm Henry Sherrard. [9] (#cite_note-WM_Girdlers-9) Legacy [ edit ] Caroline Charles was among Sherard's assistants in the 1960s, subsequently moving on to Mary Quant (/wiki/Mary_Quant) before launching her own couture label that dressed both rock stars and royalty. [10] (#cite_note-FE_McCready-10) The designer Murray Arbeid (/wiki/Murray_Arbeid) – also noted for his elegant evening gowns – was an assistant at the fashion house. [11] (#cite_note-DT_Arbeid-11) [12] (#cite_note-Guardian,_Horwell-12) In 2012, Sherard's work formed part of the exhibition Glamour , a retrospective of 100 years of evening wear held at the Bath Museum of Costume (/wiki/Bath_Museum_of_Costume) . [13] (#cite_note-Retrospective_Glamour_06062012-13) Some of his designs and his work drawings also form part of the V&A fashion archive. References [ edit ] ^ Jump up to: a b "Michael Sherard" (http://www.npg.org.uk/collections/search/portrait/mw175502/Michael-Sherard-Malcolm-Henry-Sherrard) . npg.org.uk . National Portrait Gallery . Retrieved 12 August 2014 . ^ Jump up to: a b c d e f g h i j k l m n o p q Pick, Michael (1 February 1999). "Obituary: Michael Sherard" (https://www.independent.co.uk/arts-entertainment/obituary-michael-sherard-1067998.html) . The Independent . Archived (https://ghostarchive.org/archive/20220514/https://www.independent.co.uk/arts-entertainment/obituary-michael-sherard-1067998.html) from the original on 14 May 2022 . Retrieved 12 August 2014 . ^ (#cite_ref-Kingston_3-0) "Former Mayors" (http://www.kingston.gov.uk/info/200233/your_mayor/792/former_mayors/2) . kingston.gov.uk . Kingston Council . Retrieved 13 August 2014 . ^ (#cite_ref-How_Fashion_Works_Waddell_4-0) Waddell, Gavin (2004). How Fashion Works: Couture, Ready-to-Wear and Mass Production . Oxford: Blackwell Science. pp. 175–7. ISBN (/wiki/ISBN_(identifier)) 9780632057528 . ^ (#cite_ref-SMH_women_5-0) staff (20 January 1952). "Women behind 'big ten' Londondesigners" (https://news.google.com/newspapers?nid=1301&dat=19520120&id=1KITAAAAIBAJ&sjid=SK8DAAAAIBAJ&pg=7259,2341354) . Sydney Morning Herald . Retrieved 13 August 2014 . ^ (#cite_ref-Frist_Center_6-0) "The Golden Age of Couture" (http://fristcenter.org/content/uploads/pdf_downloads/Couture_Exh_Guide.pdf) (PDF) . fristcenter.org . Frist Center (V&A Touring Exhibition) . Retrieved 12 August 2014 . ^ (#cite_ref-Ottawa_Citizen_Groarke_7-0) Groarke, Rosanna (3 February 1961). "Wagtail, figure eight are London fashion lines" (https://news.google.com/newspapers?nid=2194&dat=19610203&id=l_0xAAAAIBAJ&sjid=NuUFAAAAIBAJ&pg=7033,570643) . Ottawa Citizen . Retrieved 12 August 2014 . ^ (#cite_ref-KS_wagtail_8-0) "London stylist shows wagtail line for spring" (https://www.newspapers.com/newspage/56898212/) . Kansas Star . 3 February 1961 . Retrieved 12 August 2014 . ^ (#cite_ref-WM_Girdlers_9-0) "1960 – Girdlers Hall" (http://www.waymarking.com/gallery/image.aspx?f=1&guid=cd12d58a-bfba-40eb-9417-4d1233ae127c) . waymarking.com . Waymarking . Retrieved 12 August 2014 . ^ (#cite_ref-FE_McCready_10-0) McCready, Elian; Raugust, Karen. "Caroline Charles" (http://www.fashionencyclopedia.com/Ch-Da/Charles-Caroline.html) . Fashion Encyclopedia . Retrieved 12 August 2014 . ^ (#cite_ref-DT_Arbeid_11-0) "Murray Arbeid" (https://www.telegraph.co.uk/news/obituaries/culture-obituaries/8736021/Murray-Arbeid.html?mobile=basic) . Daily Telegraph . 1 September 2011 . Retrieved 12 August 2014 . ^ (#cite_ref-Guardian,_Horwell_12-0) Horwell, Veronica. "Murray Arbeid" (https://www.theguardian.com/fashion/2011/oct/30/murray-arbeid) . The Guardian . Retrieved 12 August 2014 . ^ (#cite_ref-Retrospective_Glamour_06062012_13-0) "Glamour: 100 years of evening wear exhibition" (http://retrospectiveonline.com/uncategorized/glamour-100-years-of-evening-wear-exhibition/) . retrospectiveonline.com . Retrospective . Retrieved 5 October 2014 . External links [ edit ] Michael Sherard (Malcolm Sherrard) portraits at National Portrait Gallery (http://www.npg.org.uk/collections/search/person.php?LinkID=mp101378&wPage=0) Black taffeta and lace cocktail dress in flamenco style, part of Sherard's 1958 collection, in V&A collection (http://www.vam.ac.uk/users/node/7640) Authority control databases (/wiki/Help:Authority_control) Artists RKD Artists (https://rkd.nl/en/explore/artists/330617) Other Te Papa (New Zealand) (https://collections.tepapa.govt.nz/agent/25575) NewPP limit report Parsed by mw‐web.codfw.main‐58f48cc867‐vwpps Cached time: 20240625084358 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.409 seconds Real time usage: 0.566 seconds Preprocessor visited node count: 2447/1000000 Post‐expand include size: 31206/2097152 bytes Template argument size: 1947/2097152 bytes Highest expansion depth: 17/100 Expensive parser function count: 4/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 57213/5000000 bytes Lua time usage: 0.256/10.000 seconds Lua memory usage: 6587766/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 518.750 1 -total 29.65% 153.807 1 Template:Reflist 28.67% 148.739 1 Template:Infobox_person 18.71% 97.060 1 Template:Authority_control 17.82% 92.441 5 Template:Cite_web 13.97% 72.446 1 Template:Short_description 9.84% 51.064 4 Template:Br_separated_entries 7.78% 40.342 2 Template:Pagetype 6.83% 35.439 1 Template:Use_dmy_dates 6.51% 33.754 16 Template:Main_other Saved in parser cache with key enwiki:pcache:idhash:43545751-0!canonical and timestamp 20240625084358 and revision id 1195681454. 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This article needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Longhua_(collar)) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed. Find sources: "Longhua" collar (https://www.google.com/search?as_eq=wikipedia&q=%22Longhua%22+collar) – news (https://www.google.com/search?tbm=nws&q=%22Longhua%22+collar+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Longhua%22+collar&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Longhua%22+collar+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Longhua%22+collar) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Longhua%22+collar&acc=on&wc=on) ( March 2020 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Longhua Qing Empress dowager (left) and Empress (middle) wearing longhua collar, Qing dynasty (/wiki/Qing_dynasty) ,1900. Traditional Chinese (/wiki/Traditional_Chinese_characters) 龍華 Simplified Chinese (/wiki/Simplified_Chinese_characters) 龙华 Transcriptions Standard Mandarin (/wiki/Standard_Chinese) Hanyu Pinyin (/wiki/Hanyu_Pinyin) Lónghuá Alternative Chinese name Chinese (/wiki/Chinese_language) 龙华领巾 Transcriptions Standard Mandarin (/wiki/Standard_Chinese) Hanyu Pinyin (/wiki/Hanyu_Pinyin) Lónghuá lǐngjīn Longhua (龍華) were white, scarf-like collars worn by Manchu (/wiki/Manchu_people) women in the early to mid- Qing dynasty (/wiki/Qing_dynasty) . It was worn all year around when robes without collar were worn. [1] (#cite_note-:0-1) History [ edit ] Robes and jackets in the Qing dynasty were generally round-necked. [2] (#cite_note-:1-2) Clothing with high collars (/wiki/Mandarin_collar) or neckbands already existed since the late Ming dynasty (/wiki/Ming_dynasty) , however, in Qing, high collar clothing were only worn on an occasional basis. [2] (#cite_note-:1-2) Detachable collars were therefore produced and sold separately from the garments. [2] (#cite_note-:1-2) They were then used for decorative purposes, for keeping its wearer warm and in formal official attire. [2] (#cite_note-:1-2) During the late Qing, the high collar was eventually integrated to both the clothing of the Chinese (/wiki/Han_Chinese) and the Manchu (/wiki/Manchu_people) as standard features. [2] (#cite_note-:1-2) With the rise of collars in garments, longhua slowly disappeared in use. [1] (#cite_note-:0-1) Gallery [ edit ] Painting of a Manchurian Family, 1800. Imperial portrait of the Worthy Lady Chun of Emperor Xianfeng (/wiki/Xianfeng_Emperor) wearing longhua, mid 1800s. Concubines of the Xianfeng Emperor (/wiki/Xianfeng_Emperor) fishing at a pond. Two ladies of Qing Chinese Imperial Court wearing longhua with Qizhuang, pre-1911. See also [ edit ] Chaozhu (Court necklace) (/wiki/Chaozhu_(Court_necklace)) Mandarin collar (/wiki/Mandarin_collar) Yunjian (/wiki/Yunjian) Yupei (/wiki/Yupei) References [ edit ] ^ a b "The Inner Beauty of Chinese Traditional Costumes" (http://en.chinaculture.org/classics/2012-05/23/content_434062.htm) . ChinaCulture.org . ^ a b c d e Finnane, Antonia (2008). Changing clothes in China : fashion, history, nation . New York: Columbia University Press. pp. 92–93. ISBN (/wiki/ISBN_(identifier)) 978-0-231-14350-9 . OCLC (/wiki/OCLC_(identifier)) 84903948 (https://www.worldcat.org/oclc/84903948) . This China (/wiki/China) -related article is a stub (/wiki/Wikipedia:Stub) . 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Indian model and actress based in Mumbai This article includes a list of general references (/wiki/Wikipedia:Citing_sources) , but it lacks sufficient corresponding inline citations (/wiki/Wikipedia:Citing_sources#Inline_citations) . Please help to improve (/wiki/Wikipedia:WikiProject_Reliability) this article by introducing (/wiki/Wikipedia:When_to_cite) more precise citations. ( May 2010 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Monikangana Dutta Monikangana Dutta Born Monikangana Dutta Guwahati (/wiki/Guwahati) , Assam (/wiki/Assam) Nationality Indian (/wiki/India) Occupation(s) Model (/wiki/Model_(person)) , actress (/wiki/Actress) Website www.monidutta.com (http://www.monidutta.com/) Monikangana Dutta [1] (#cite_note-1) [2] (#cite_note-2) is an Indian model (/wiki/Model_(person)) and actress (/wiki/Actress) based in Mumbai (/wiki/Mumbai) . She is from Guwahati (/wiki/Guwahati) , Assam (/wiki/Assam) . She studied in Army Public School, Narangi (/wiki/Army_Public_School,_Narangi) , Guwahati and later graduated from the Matreyi College, University of Delhi (/wiki/University_of_Delhi) . [3] (#cite_note-3) Acting [ edit ] She made her acting debut in the 2010 Indian film, Guzaarish (/wiki/Guzaarish_(2010_film)) directed by Sanjay Leela Bhansali (/wiki/Sanjay_Leela_Bhansali) and starring Aishwarya Rai (/wiki/Aishwarya_Rai) and Hrithik Roshan (/wiki/Hrithik_Roshan) . [ citation needed ] References [ edit ] ^ (#cite_ref-1) Brook, Stephen (/w/index.php?title=Stephen_Brook&action=edit&redlink=1) (20 September 2007). "Vogue thinks big for Indian launch" (https://www.theguardian.com/media/2007/sep/20/pressandpublishing.fashion) . Guardian UK . Guardian UK . Retrieved 20 September 2007 . ^ (#cite_ref-2) Safe, Georgina (/w/index.php?title=Georgina_Safe&action=edit&redlink=1) (24 April 2008). "Moni Dutta lives the model dream" (http://www.theaustralian.com.au/news/executive-lifestyle/moni-dutta-lives-the-model-dream/story-e6frg8k6-1111116154063) . The Australian . News Limited . Retrieved 24 April 2008 . ^ (#cite_ref-3) "AppMaster - the no-code platform for building web & mobile apps" (https://web.archive.org/web/20160303192056/http://www.northeastindianews.com/north-east-india-breaking-news-headlines/assamese-beauties-follow-in-monikangana%E2%80%99s-footsteps/) . Archived from the original (http://www.northeastindianews.com/north-east-india-breaking-news-headlines/assamese-beauties-follow-in-monikangana%E2%80%99s-footsteps/) on 3 March 2016 . Retrieved 15 October 2010 . External links [ edit ] Official Website - Moni Kangana Dutta (https://web.archive.org/web/20100507073908/http://www.monidutta.com/) IMG Models (https://www.imgmodels.com/) Guzaarish at IMDb (/wiki/IMDb_(identifier)) Further reading [ edit ] THE AUSTRALIAN - Moni Dutta is India's answer to Gemma Ward. (http://www.theaustralian.com.au/news/executive-lifestyle/moni-dutta-lives-the-model-dream/story-e6frg8k6-1111116154063) GUARDIAN UK - Vogue thinks big for Indian launch. (https://www.theguardian.com/media/2007/sep/20/pressandpublishing.fashion) REDIFF - Lakme Fashion Week 2009. (http://specials.rediff.com/getahead/2009/mar/31moni-lakme-fashion-week.htm) GYANGURU - Kingfisher Calendar 2009. (https://web.archive.org/web/20100507090118/http://gyanguru.org/kingfisher-calendar-2009-hq/) NETWORK18 - Moni Dutta - Indian Supermodel. (https://web.archive.org/web/20101016023235/http://www.in.com/videos/watchvideo-moni-dutta-indian-supermodel-3382431.html) REDIFF\|GetAhead - Monikangana Dutta. (http://getahead.rediff.com/slide-show/2009/sep/20/slide-show-1-monikangana-dutta-i-am-an-extremist.htm) OUTLOOK INDIA - Ramp Scorchers. 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1953 (/wiki/Category:Clothing_companies_established_in_1953) 1954 (/wiki/Category:Clothing_companies_established_in_1954) 1955 (/wiki/Category:Clothing_companies_established_in_1955) 1956 (/wiki/Category:Clothing_companies_established_in_1956) 1957 (/wiki/Category:Clothing_companies_established_in_1957) 1958 1959 (/wiki/Category:Clothing_companies_established_in_1959) 1960 (/wiki/Category:Clothing_companies_established_in_1960) 1961 (/wiki/Category:Clothing_companies_established_in_1961) 1962 (/wiki/Category:Clothing_companies_established_in_1962) 1963 (/wiki/Category:Clothing_companies_established_in_1963) Clothing companies (/wiki/Category:Clothing_companies) established in 1958 (/wiki/Category:Companies_established_in_1958) — companies in fashion−design &/or manufacturing−retailing of clothing. Fashion portal (/wiki/Portal:Fashion) 1950s portal (/wiki/Portal:1950s) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐g84k7 Cached time: 20240719222211 Cache expiry: 2592000 Reduced expiry: false Complications: [] CPU time usage: 0.118 seconds Real time usage: 0.160 seconds Preprocessor visited node count: 69/1000000 Post‐expand include size: 3167/2097152 bytes Template argument size: 84/2097152 bytes Highest expansion depth: 5/100 Expensive parser function count: 13/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 4114/5000000 bytes Lua time usage: 0.091/10.000 seconds Lua memory usage: 933797/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 146.767 1 -total 81.37% 119.431 1 Template:Navseasoncats 16.35% 23.994 1 Template:Portal 2.13% 3.131 2 Template:C Saved in parser cache with key enwiki:pcache:idhash:54097457-0!canonical and timestamp 20240719222211 and revision id 974955061. Rendering was triggered because: page-view Pages in category "Clothing companies established in 1958" The following 9 pages are in this category, out of 9 total. This list may not reflect recent changes (/wiki/Wikipedia:FAQ/Categorization#Why_might_a_category_list_not_be_up_to_date?) . A Aquila Shoes (/wiki/Aquila_Shoes) C CA Sports (/wiki/CA_Sports) Cacharel (/wiki/Cacharel) F Fairtex (/wiki/Fairtex) H Hush Puppies (/wiki/Hush_Puppies) K Kayser-Roth (/wiki/Kayser-Roth) R Reebok (/wiki/Reebok) Rifle (clothing company) (/wiki/Rifle_(clothing_company)) T Tokaido (company) (/wiki/Tokaido_(company)) esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Category:Clothing_companies_established_in_1958&oldid=974955061 (https://en.wikipedia.org/w/index.php?title=Category:Clothing_companies_established_in_1958&oldid=974955061) " Categories (/wiki/Help:Category) : 1950s fashion (/wiki/Category:1950s_fashion) Clothing companies by year of establishment (/wiki/Category:Clothing_companies_by_year_of_establishment) Design companies established in 1958 (/wiki/Category:Design_companies_established_in_1958) Manufacturing companies established in 1958 (/wiki/Category:Manufacturing_companies_established_in_1958) Clothing companies established in the 20th century (/wiki/Category:Clothing_companies_established_in_the_20th_century)
Biography portal (/wiki/Portal:Biography) Fashion portal (/wiki/Portal:Fashion) Africa portal (/wiki/Portal:Africa) NewPP limit report Parsed by mw‐web.eqiad.main‐8645764cd7‐zz9wk Cached time: 20240714215127 Cache expiry: 2592000 Reduced expiry: false Complications: [] CPU time usage: 0.043 seconds Real time usage: 0.058 seconds Preprocessor visited node count: 21/1000000 Post‐expand include size: 1516/2097152 bytes Template argument size: 0/2097152 bytes Highest expansion depth: 3/100 Expensive parser function count: 3/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 1041/5000000 bytes Lua time usage: 0.023/10.000 seconds Lua memory usage: 739078/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 46.261 1 Template:Portal 100.00% 46.261 1 -total Saved in parser cache with key enwiki:pcache:idhash:59630686-0!canonical and timestamp 20240714215127 and revision id 912165606. Rendering was triggered because: page-view Subcategories This category has only the following subcategory. + Rwandan female models (/wiki/Category:Rwandan_female_models) ‎ (1 P) esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Category:Rwandan_models&oldid=912165606 (https://en.wikipedia.org/w/index.php?title=Category:Rwandan_models&oldid=912165606) " Categories (/wiki/Help:Category) : Models by nationality (/wiki/Category:Models_by_nationality) Rwandan people by occupation (/wiki/Category:Rwandan_people_by_occupation)
Vest-jacket worn by men in South Asia The Khadi (/wiki/Khadi) bandi is worn over a kurta (/wiki/Kurta) and churidar (/wiki/Churidar) . Jawaharlal Nehru (/wiki/Jawaharlal_Nehru) , left, in a Bandi or Nehru vest, talking to Mahatma Gandhi (/wiki/Mahatma_Gandhi) , 1942 Sadri ( Hindi (/wiki/Hindi_language) : सदरी , Urdu (/wiki/Urdu_language) : صدری ), also known as a Waskat ( Hindi (/wiki/Hindi_language) : वास्कट , Urdu (/wiki/Urdu_language) : واسکٹ ) or Bandi ( Hindi (/wiki/Hindi_language) : बंडी , Urdu (/wiki/Urdu_language) : بنڈی ), is a vest-jacket worn by men in South Asia (/wiki/South_Asia) , while women sometimes wear a similar waistcoat (/wiki/Waistcoat) known as a Koti ( Hindi (/wiki/Hindi_language) : कोटी , Urdu (/wiki/Urdu_language) : کوٹی , Bengali (/wiki/Bengali_language) : কোটি ). [1] (#cite_note-1) [2] (#cite_note-Bohra2000-2) In Europe and America, the sadri became known as a Nehru vest . [3] (#cite_note-Srinivasan2006-3) Etymology [ edit ] The word Bandi is derived from badhnati ( Sanskrit (/wiki/Sanskrit_language) : बध्नाति) meaning to fasten or to tie . [4] (#cite_note-4) Use [ edit ] The sadri is a sleeveless-vest jacket, traditionally worn over achkan (/wiki/Achkan) , angarkha (/wiki/Angarkha) , qameez (/wiki/Shalwar_kameez) and kurta (/wiki/Kurta) by men. [5] (#cite_note-Condra2013-5) It was historically worn by the peasant class and was decorated with various styles of folk embroidery for festive occasions. [6] (#cite_note-6) [7] (#cite_note-7) It is part of everyday wear for men and it is also popular among the political class throughout South Asia (/wiki/South_Asia) . [8] (#cite_note-8) In the winter, the sadri is especially worn as it keeps the wearer warm. [9] (#cite_note-9) Koti jacket was traditionally worn by women, it differs from bandi and sadri worn by men in size and decoration. Gota (/wiki/Gota_(embroidery)) embroidery is commonly used and was traditionally worn over choli (/wiki/Choli) , gagra choli (/wiki/Gagra_choli) , angarkha (/wiki/Angarkha) and shalwar kameez (/wiki/Shalwar_kameez) . [10] (#cite_note-10) See also [ edit ] Afghanistan portal (/wiki/Portal:Afghanistan) India portal (/wiki/Portal:India) Pakistan portal (/wiki/Portal:Pakistan) Bangladesh portal (/wiki/Portal:Bangladesh) Afghan clothing (/wiki/Afghan_clothing) Indian clothing (/wiki/Indian_clothing) Pakistani clothing (/wiki/Pakistani_clothing) Textile arts of Bangladesh (/wiki/Textile_arts_of_Bangladesh) Textile industry of Bangladesh (/wiki/Textile_industry_of_Bangladesh) Mirzai (garment) (/wiki/Mirzai_(garment)) References [ edit ] ^ (#cite_ref-1) Arabinda Biswas (1985) "Indian Costumes.", p.43 ^ (#cite_ref-Bohra2000_2-0) Bohra, Qammaruddin (2000). City of Hyderabad Sindh: 712-1947 . Royal Book Company. p. 75. ^ (#cite_ref-Srinivasan2006_3-0) Srinivasan, Amruthur V. (2006). The Vedic Wedding: Origins, Tradition, and Practice . Periplus Line. p. 225. ISBN (/wiki/ISBN_(identifier)) 9780978544300 . ^ (#cite_ref-4) "bandhnAti" (http://spokensanskrit.org/index.php?mode=3&script=hk&tran_input=badhnAti&direct=se) . Sanskrit Dictionary for Spoken Sanskrit . Retrieved 31 December 2018 . ^ (#cite_ref-Condra2013_5-0) Condra, Jill (9 April 2013). Encyclopedia of National Dress: Traditional Clothing Around the World . ABC-CLIO (/wiki/ABC-CLIO) . p. 2. ISBN (/wiki/ISBN_(identifier)) 9780313376375 . ^ (#cite_ref-6) Ayyappan Madhava Kurup (1986) "Continuity and Change in a Little Community", p.107 ^ (#cite_ref-7) Government of Uttar Pradesh, (1989) "Uttar Pradesh District Gazetteers: Garhwal", p.60 ^ (#cite_ref-8) Arti Sandhu, (2014) "Indian Fashion: Tradition, Innovation, Style", p.140 ^ (#cite_ref-9) Illustrated Weekly of Pakistan, Volume 19, Issues 12-25 . Pakistan Herald Publications. 1967. p. 17. Picture shows the ruler in a 'sadri' — a half- sleeved vest worn in winter. ^ (#cite_ref-10) Kumar, Ritu (2006) "Costumes and textiles of royal India, p.299 v t e Jawaharlal Nehru (/wiki/Jawaharlal_Nehru) Life events and administration Indian National Congress (/wiki/Indian_National_Congress) Champaran Satyagraha (/wiki/Champaran_Satyagraha) Indian independence movement (/wiki/Indian_independence_movement) Non-cooperation movement (/wiki/Non-cooperation_movement_(1919%E2%80%931922)) Purna Swaraj (/wiki/Purna_Swaraj) flag (/wiki/Flag_of_India) Salt March (/wiki/Salt_March) Aundh Experiment (/wiki/Aundh_Experiment) Quit India (/wiki/Quit_India_Movement) Tryst with Destiny (/wiki/Tryst_with_Destiny) The light has gone out of our lives (/wiki/The_light_has_gone_out_of_our_lives) Constituent Assembly of India (/wiki/Constituent_Assembly_of_India) Interim Government of India (/wiki/Interim_Government_of_India) 1950 University of Cambridge Chancellor election (/wiki/1950_University_of_Cambridge_Chancellor_election) Liaquat–Nehru Pact (/wiki/Liaquat%E2%80%93Nehru_Pact) Political integration of India (/wiki/Political_integration_of_India) List of international prime ministerial trips made by Jawaharlal Nehru (/wiki/List_of_international_prime_ministerial_trips_made_by_Jawaharlal_Nehru) Non-Aligned Movement (/wiki/Non-Aligned_Movement) First Nehru ministry (/wiki/First_Nehru_ministry) Second Nehru ministry (/wiki/Second_Nehru_ministry) Third Nehru ministry (/wiki/Third_Nehru_ministry) Fourth Nehru ministry (/wiki/Fourth_Nehru_ministry) Indo-Pakistani War of 1947-1948 (/wiki/Indo-Pakistani_War_of_1947-1948) Annexation of Goa (/wiki/Annexation_of_Goa) Sino-Indian War (/wiki/Sino-Indian_War) Philosophy Scientific temper (/wiki/Scientific_temper) Secular humanism (/wiki/Secular_humanism) Secularism (/wiki/Secularism) Secular state (/wiki/Secular_state) Publications An Autobiography (/wiki/An_Autobiography_(Nehru)) Before Freedom: Nehru's Letters to His Sister 1909–1947 (/wiki/Before_Freedom:_Nehru%27s_Letters_to_His_Sister_1909%E2%80%931947) The Discovery of India (/wiki/The_Discovery_of_India) Glimpses of World History (/wiki/Glimpses_of_World_History) Letters from a Father to His Daughter (/wiki/Letters_from_a_Father_to_His_Daughter) National Herald (/wiki/National_Herald) Influences Theosophy (/wiki/Theosophy) G. 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Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Sadri_(clothing)&oldid=1223446875 (https://en.wikipedia.org/w/index.php?title=Sadri_(clothing)&oldid=1223446875) " Categories (/wiki/Help:Category) : Culture of South Asia (/wiki/Category:Culture_of_South_Asia) Jackets (/wiki/Category:Jackets) Hindi words and phrases (/wiki/Category:Hindi_words_and_phrases) Urdu-language words and phrases (/wiki/Category:Urdu-language_words_and_phrases) Afghan clothing (/wiki/Category:Afghan_clothing) Indian clothing (/wiki/Category:Indian_clothing) Pakistani clothing (/wiki/Category:Pakistani_clothing) Hidden categories: Articles with short description (/wiki/Category:Articles_with_short_description) Short description matches Wikidata (/wiki/Category:Short_description_matches_Wikidata) Articles containing Hindi-language text (/wiki/Category:Articles_containing_Hindi-language_text) Articles containing Urdu-language text (/wiki/Category:Articles_containing_Urdu-language_text) Articles containing Bengali-language text (/wiki/Category:Articles_containing_Bengali-language_text)
Australian model This article's lead section (/wiki/Wikipedia:Manual_of_Style/Lead_section#Length) may be too short to adequately summarize (/wiki/Wikipedia:Summary_style) the key points . Please consider expanding the lead to provide an accessible overview (/wiki/Wikipedia:Manual_of_Style/Lead_section#Provide_an_accessible_overview) of all important aspects of the article. ( January 2024 ) Robyn Lawley Robyn Lawley at the Guess Accessory Launch in Sydney, Australia Born ( 1989-06-13 ) 13 June 1989 (age 35) Girraween, New South Wales (/wiki/Girraween,_New_South_Wales) , Australia Occupation Fashion model (/wiki/Fashion_model) Modeling information Height 1.93 m (6 ft 4 in) Hair color Brown Eye color Blue-green Agency Ford Models (New York) New Madison (Paris) Why Not Model Management (/wiki/Why_Not_Model_Management) (Milan) Bella models Australia Milk Management (London) Francina Models (Barcelona) MIKAs (Stockholm) [1] (#cite_note-1) Website www (http://www.robynlawley.com) .robynlawley (http://www.robynlawley.com) .com (http://www.robynlawley.com) Robyn Lawley (born 13 June 1989) [2] (#cite_note-bio-2) is an Australian model, writer, photographer and director. She has appeared in Sports Illustrated , Elle, and other publications. She has been outspoken in her support for size-inclusiveness in the fashion and modeling industry and led a boycott which compelled Victoria's Secret to make changes to their annual fashion show. [3] (#cite_note-3) Early life and family [ edit ] Robyn was born in Girraween, New South Wales (/wiki/Girraween,_New_South_Wales) , [2] (#cite_note-bio-2) to Chris and Janne Lawley; and has two older sisters, Shona and Jennifer. [4] (#cite_note-nymag-4) Robyn attended Macarthur Girls High School (/wiki/Macarthur_Girls_High_School) . Robyn went to see a mainstream agency when she was 15 and although they were ready to sign her, she didn't feel ready. [5] (#cite_note-pr-5) After taking a year off she returned and started doing straight size modeling for a year. [5] (#cite_note-pr-5) Finding it to be not worth the effort of maintaining the size 8 that was required, she signed with Bella model management, a "plus size" modeling agency in Australia, when she was 18. Career [ edit ] Modelling [ edit ] Lawley's first magazine shoot was for Dolly (/wiki/Dolly_(magazine)) in 2006. At the beginning of her career she appeared in a plus-size clothing range for New Zealand brand EziBuy. Lawley has modelled for the cover of French Elle (/wiki/Elle_(magazine)) , Marie Claire (/wiki/Marie_Claire) (France, Australia) and Cosmopolitan (/wiki/Cosmopolitan_(magazine)) . [6] (#cite_note-6) In June 2011, Lawley featured on the cover of Vogue Italia (/wiki/Vogue_Italia) alongside fellow plus-sized models Tara Lynn (/wiki/Tara_Lynn) and Candice Huffine (/wiki/Candice_Huffine) , shot by Steven Meisel (/wiki/Steven_Meisel) . In addition, she appeared on the March 2012 cover of Madison , becoming the first Australian plus-sized model to appear on the cover of an Australian fashion magazine, as well as the first plus-size model to appear in an editorial specifically produced for Australian Vogue . Lawley has also appeared in editorials for Dazed & Confused (/wiki/Dazed_%26_Confused_(magazine)) , Glamour (/wiki/Glamour_(magazine)) , Marie Claire Hungary and the British and Croatian editions of Elle (/wiki/Elle_(magazine)) . [7] (#cite_note-models-7) [8] (#cite_note-8) [9] (#cite_note-9) [10] (#cite_note-10) [11] (#cite_note-11) Lawley has walked for designers including Peter Morrissey (/wiki/Peter_Morrissey) at Australian Fashion Week (/wiki/Australian_Fashion_Week) , Elena Miro at Milan Fashion Week (/wiki/Milan_Fashion_Week) as well as in a one-woman show for OneStopPlus, streamed on to a New York Times Square (/wiki/Times_Square) moving billboard. [12] (#cite_note-D'Ospina,_Elisa-12) [13] (#cite_note-13) Lawley has appeared in campaigns for plus-size brands including Evans (/wiki/Evans_(clothing)) , Lane Bryant (/wiki/Lane_Bryant) , Marina Rinaldi (/wiki/Marina_Rinaldi) and Persona Collezioni. [14] (#cite_note-Milligan-14) [15] (#cite_note-lbnyt-15) [16] (#cite_note-16) [17] (#cite_note-17) Lawley also modeled for the debut of H & M (/wiki/H%26M) 's inclusive line as well as Mango (/wiki/Mango_(clothing)) 's plus-size line, Violeta by Mango. [18] (#cite_note-18) She modeled for the debut and several other collections of Swan by Clements Ribeiro (/wiki/Clements_Ribeiro) for Evans, designed by husband and wife duo Suzanne Clements and Inacio Ribeiro. [14] (#cite_note-Milligan-14) [19] (#cite_note-19) [20] (#cite_note-20) Lawley appeared in campaigns for Ralph Lauren (/wiki/Ralph_Lauren) , becoming the first plus-size model to be used in their in-store advertising. [21] (#cite_note-Robyn_Lawley:_Plus-sized_and_proud-21) Lawley appeared in Lane Bryant's rebranding campaign, which included print magazine ads and several billboards (/wiki/Billboard) in New York City. [15] (#cite_note-lbnyt-15) Lawley has also appeared in advertising for brands such as Calezdonia's Summer 2012 campaign photographed by Raphael Mazzucco (/wiki/Raphael_Mazzucco) and Boux Avenue (/wiki/Boux_Avenue) lingerie. She also appeared in campaigns for lingerie brand Chantelle (/wiki/Chantelle_(underwear)) , photographed by Greg Kadel (/wiki/Greg_Kadel) along with models including Maryna Linchuk (/wiki/Maryna_Linchuk) . [21] (#cite_note-Robyn_Lawley:_Plus-sized_and_proud-21) [22] (#cite_note-Moran-22) [23] (#cite_note-23) Her first beauty campaign was Face Time for Barneys New York (/wiki/Barneys_New_York) Holiday 2013, photographed by Ben Hassett. [24] (#cite_note-24) Lawley was photographed by Kenneth Willardt (/wiki/Kenneth_Willardt) for a fine art exhibition, Size Does Matter . [25] (#cite_note-refinery29sizedoesmatter-25) [26] (#cite_note-WSJSizeDoesMatter-26) [27] (#cite_note-ellesizedoesmatter-27) The show was on exhibit from November to December 2013 at the 588 Gallery in Chelsea. [25] (#cite_note-refinery29sizedoesmatter-25) [26] (#cite_note-WSJSizeDoesMatter-26) [27] (#cite_note-ellesizedoesmatter-27) Lawley was photographed nude with various animals, including rabbits, an owl, an octopus and tarantulas. [25] (#cite_note-refinery29sizedoesmatter-25) [26] (#cite_note-WSJSizeDoesMatter-26) [27] (#cite_note-ellesizedoesmatter-27) Each image in the exhibit had a QR code (/wiki/QR_code) . [28] (#cite_note-interviewsizedoesmatter-28) When the QR code was scanned with a cell phone, added movement in the image was visible on the cell phone screen. [25] (#cite_note-refinery29sizedoesmatter-25) [28] (#cite_note-interviewsizedoesmatter-28) In addition to the images in the gallery, a billboard with Lawley flanked by bunnies was placed on the West Side Highway in Manhattan. [25] (#cite_note-refinery29sizedoesmatter-25) [28] (#cite_note-interviewsizedoesmatter-28) In early 2015, Robyn Lawley became a Sports Illustrated (/wiki/Sports_Illustrated) "Rookie", making her the first "plus-size" model to be featured in the magazine's annual Swimsuit Issue (/wiki/Swimsuit_Issue) . [29] (#cite_note-Time_Article_2015-29) The assistant managing editor of Sports Illustrated had stated that Lawley "had been on her radar for years and is being highlighted as a model rather than as a "plus size" model." [29] (#cite_note-Time_Article_2015-29) Lawley has been in the issue, 2015, 2016, 2017 and in 2018 she also filmed the series "In her own words" [1] (https://www.yahoo.com/entertainment/si-campaign-her-own-words-230920457.html) . In 2016 Robyn Lawley became Westfields beauty ambassador and starred in the 2016/17 campaigns across Australia called “Join the front line” [2] (https://cosmeticsbusiness.com/news/article_page/Robyn_Lawley_named_as_Westfield_beauty_ambassador/122352) [3] (https://graziamagazine.com/articles/robyn-lawley-westfielf-wellness-body-image-fitness/) During the 2020-2021 pandemic, Lawley created a podcast series called “Everybody” with Robyn Lawley via Audible. Interviewing guests like Turia Pitt and Jameela Jamil—as well as 'ordinary' people who continue to conquer the world in spite of chronic illness—Lawley turns a critical eye on the #BodyPositive movement. [4] (https://www.audible.com.au/pd?asin=B08WX1XYX4&source_code=ASSORAP0511160006&share_location=player_overflow) [5] (https://www.marieclaire.com.au/robyn-lawley-every-body-podcast-interview) Fashion design [ edit ] Lawley's swimwear line, designed by Lawley in collaboration with Bond-Eye Swimwear, launched in August 2013. [30] (#cite_note-30) [31] (#cite_note-HuffPoSwimwear-31) The swimwear was produced in sizes 8 (US) to 18 (US), with plans to extend the size range in the future. [31] (#cite_note-HuffPoSwimwear-31) Photography and videographer/director [ edit ] Lawley photographed Tara Lynn for Galore Magazine Issue 4. [32] (#cite_note-32) Lawley's photographs of Leah Kelley in her swimwear line went viral on social media and were covered by notable fashion websites. [33] (#cite_note-33) [34] (#cite_note-34) Lawley also video the documentary "in her own words" for sports illustrated https://www.si.com/swimsuit/model/robyn-lawley/2018/specials (https://www.si.com/swimsuit/model/robyn-lawley/2018/specials) Lawley filmed and directed Myla DalBesio's debut collection commercial for Prima Donna Lingerie Cooking [ edit ] The success of Lawley's food blog (/wiki/Blog) , "Robyn Lawley Eats" led to her receiving a contract with Random House (/wiki/Random_House) to publish a cookbook (/wiki/Cookbook) with original recipes, family recipes and tips on eating at restaurants around the world. [22] (#cite_note-Moran-22) Her recipes have been featured on Australian television and on the website of Good Morning America (/wiki/Good_Morning_America) . [35] (#cite_note-35) [36] (#cite_note-36) Lawley has become vegan and since has publicly spoken against her own cookbook wanting to redo but plant based. Writing [ edit ] Lawley has written two articles on body image for The Daily Beast (/wiki/The_Daily_Beast) . Her first article, in September 2012 addressed the media's response to Lady Gaga (/wiki/Lady_Gaga) 's weight gain. [37] (#cite_note-37) The second article, in October 2013, addressed the thigh gap (/wiki/Thigh_gap) trend. [38] (#cite_note-38) In 2018, Lawley started an Online petition against lingerie brand Victoria Secret. The petition was created to ‘help change the minds of Victoria’s Secret to be more diverse and inclusive of body shapes and sizes on their runways!’ [6] (https://time.com/5737678/victorias-secret-robyn-lawley-fashion-show/) [7] (https://www.smh.com.au/lifestyle/health-and-wellness/robyn-lawley-is-rightfully-peeved-with-victoria-s-secret-20181017-p50a9s.html) [8] (https://www.teenvogue.com/story/victorias-secret-fashion-show-boycott-robyn-lawley/amp) [9] (https://podcasts.apple.com/us/podcast/robyn-lawley-is-taking-on-victorias-secret/id995159486?i=1000423196044) The petition garnered over 10000 signatures worldwide. Victoria Secret cancelled their show, [10] (https://au.lifestyle.yahoo.com/lifestyle/victorias-secret-fashion-show-axing-celebrated-by-model-robyn-lawley-001212569.html) but has subsequently completely rebranded now including size diversity in their new VScollective [11] (https://fashionindustrybroadcast.com/2021/06/28/victorias-secret-swaps-angels-for-the-vs-collective/) Lawley also writes a monthly column for 9honey website. [12] (https://honey.nine.com.au/latest/robyn-lawley-victorias-secret-unattainable-beauty-opinion/2ae3f864-c70d-4706-9e48-661dc55a7807) Awards [ edit ] Lawley was voted the winner of the Australian Cosmopolitan (/wiki/Cosmopolitan_(magazine)) Fun, Fearless Female, Rising Star Award 2011. [39] (#cite_note-Natasa_Colo-39) Lawley was also selected for Sydney Magazine's Top 100 Most Influential People of the year award for 2011. [40] (#cite_note-pedestrian.tv-40) In June 2013, Lawley was awarded Model of the Year during the Full Figured Fashion Week. [41] (#cite_note-FFFWEEK®_2013_AWARDS-41) References [ edit ] ^ (#cite_ref-1) "Robyn Lawley - Model" (https://models.com/models/robyn-lawley) . ^ a b "Robyn Lawley homepage" (https://web.archive.org/web/20110919190010/http://www.supermodels.nl/robynlawley/) . supermodels.nl . Archived from the original (http://www.supermodels.nl/robynlawley/) on 19 September 2011. ^ (#cite_ref-3) "Thousands Of People Have Pledged To Boycott The Victoria's Secret Fashion Show" (https://www.huffpost.com/entry/victorias-secret-fashion-show-boycott_n_5bd9f60de4b0da7bfc1698bc) . HuffPost . 2 November 2018 . Retrieved 29 April 2024 . ^ (#cite_ref-nymag_4-0) James Lim (6 November 2011). "Meet the New Girl: Aspiring D.J. Robyn Lawley Wants to Change the World's Perspective on Plus-Size Modeling" (https://nymag.com/daily/fashion/2011/06/post_66.html) . New York . ^ a b "ROBYN LAWLEY: the interview" (http://www.pony-ryder.com/2011/06/robyn-lawley-interview.html) . pony-ryder.com . 3 June 2011 . Retrieved 16 February 2012 . ^ (#cite_ref-6) "Robyn and Aglae for Marie Claire" (http://madisonplus.com/mp-insider/robyn-and-aglae-for-marie-claire/) . Madisonplus.com . Retrieved 9 April 2012 . ^ (#cite_ref-models_7-0) "Robyn Lawley" (http://models.com/models/robyn-lawley) . Models.com . Retrieved 15 February 2012 . ^ (#cite_ref-8) "Belle vere" (http://www.vogue.it/en/magazine/cover-story/2011/06/belle-vere) . vogue.it . Vogue Italia. ^ (#cite_ref-9) "Cover story: Robyn Lawley" (https://web.archive.org/web/20120223012943/http://www.madisonmag.com.au/news/cover-story-robyn-lawley.htm) . madisonmag.com.au . Madison Magazine. 14 February 2012. Archived from the original (http://www.madisonmag.com.au/news/cover-story-robyn-lawley.htm) on 23 February 2012. ^ (#cite_ref-10) Felicity Loughrey (8 February 2011). "Robyn Lawley is the shape of now" (http://www.vogue.com.au/fashion/news/robyn+lawley+is+the+shape+of+now,13545) . vogue.com.au . Vogue Australia. ^ (#cite_ref-11) "Robyn Lawley in Glamour Magazine, July 2012" (https://archive.today/20130709145529/http://www.truthandfashion.com/blog/entry/robyn-lawley-in-glamour-magazine-july-2012/) . TruthandFashion.com . 6 August 2012. Archived from the original (http://www.truthandfashion.com/blog/entry/robyn-lawley-in-glamour-magazine-july-2012/) on 9 July 2013 . Retrieved 5 November 2012 . ^ (#cite_ref-D'Ospina,_Elisa_12-0) D'Ospina, Elisa (21 September 2011). "Robyn Lawley for Elena Mirò" (https://archive.today/20120918024330/http://www.vogue.it/en/vogue-curvy/the-curvy-blog/2011/09/elena-miro-estate-2012) . Vogue.it . Vogue Italia. Archived from the original (http://www.vogue.it/en/vogue-curvy/the-curvy-blog/2011/09/elena-miro-estate-2012) on 18 September 2012 . Retrieved 15 February 2012 . ^ (#cite_ref-13) Ringland, Jenny (24 August 2011). "Peter Morrissey feels all brand-new in designer comeback" (http://www.dailytelegraph.com.au/entertainment/sydney-confidential/peter-morrissey-feels-all-brand-new-in-designer-comeback/story-e6frewz0-1226120819619) . The Daily Telegraph . Retrieved 16 February 2012 . ^ a b Milligan, Lauren (2 April 2012). "Break The Rules" (https://www.vogue.co.uk/news/2012/03/27/clements-ribeiro-for-evans-collection---plus-size-fashion) . vogue.co.uk . Condé Nast Publications . Retrieved 12 December 2013 . ^ a b Levere, Jane (8 August 2012). "A Print Focus Returns in Lane Bryant Campaign" (https://www.nytimes.com/2012/08/09/business/media/lane-bryant-introduces-new-advertising-and-marketing-campaign.html?_r=0) . The New York Times . Retrieved 12 December 2013 . ^ (#cite_ref-16) "Elegante by Marina Rinaldi" (http://www.vogue.it/vogue-curvy/curvy-news/2013/11/elegante-by-marina-rinaldi) . vogue.it . 12 November 2013 . Retrieved 12 December 2013 . ^ (#cite_ref-17) "Persona Marina Rinaldi Spring 2012" (https://web.archive.org/web/20131216084218/http://www.truthandfashion.com/editorials/robyn-lawley-marquita-pringpersona-marina-rinaldi-spring-2012) . truthandfashion.com . Truth and Fashion. Archived from the original (http://www.truthandfashion.com/editorials/robyn-lawley-marquita-pringpersona-marina-rinaldi-spring-2012) on 16 December 2013 . Retrieved 12 December 2013 . ^ (#cite_ref-18) "H&M Launches New Plus Line – Inclusive" (http://madisonplus.com/dish/hm-launches-new-plus-line-inclusive/) . madisonplus.com . Madison Plus . Retrieved 12 December 2013 . ^ (#cite_ref-19) "Clements Ribeiro for Evans" (http://madisonplus.com/style-file/clements-ribeiro-for-evans/) . madisonplus.com . Madison Plus. 27 March 2012 . Retrieved 12 December 2013 . ^ (#cite_ref-20) "Model Robyn Lawley for Clements Ribeiro" (https://web.archive.org/web/20131215072816/http://www.truthandfashion.com/blog/entry/model-robyn-lawley-for-clements-ribeiro) . truthandfashion.com . Truth and Fashion. 3 September 2012. Archived from the original (http://www.truthandfashion.com/blog/entry/model-robyn-lawley-for-clements-ribeiro) on 15 December 2013 . Retrieved 12 December 2013 . ^ a b "Robyn Lawley: Plus-sized and proud" (https://web.archive.org/web/20130511220216/http://aww.ninemsn.com.au/assetglance.aspx?assetid=246734) . aww.ninemsn.com.au . ninemsn. 8 February 2012. Archived from the original (http://aww.ninemsn.com.au/assetglance.aspx?assetid=246734) on 11 May 2013 . Retrieved 2 August 2012 . ^ a b Moran, Jonathon (16 November 2012). "Food-loving beauty Robyn Lawley is cooking up a storm" (http://www.dailytelegraph.com.au/entertainment/insider/food-loving-beauty-robyn-lawley-is-cooking-up-a-storm/story-e6frewt9-1226518772140) . thedailytelegraph.com.au . Retrieved 16 December 2012 . ^ (#cite_ref-23) "Robyn Lawley for Chantelle" (http://www.wilhelminanews.com/robyn-lawley-for-chantelle/) . wilhelminanews.com . Retrieved 12 November 2013 . ^ (#cite_ref-24) Krupnick, Ellie (12 December 2013). "Robyn Lawley Scores First Beauty Gig, Because Why Shouldn't Plus-Size Women Model Makeup?" (https://huffingtonpost.com/2013/12/12/robyn-lawley-beauty-gig_n_4431801.html) . HuffPost . Retrieved 12 December 2013 . ^ a b c d e Black, Liz (13 November 2013). "Robyn Lawley Is Nude And Stunning In "Size Does Matter" Exhibit" (https://www.refinery29.com/2013/11/57239/robyn-lawley-nude-kenneth-willardt-exhibit#slide-1) . refinery29.com . Refinery 29 . Retrieved 14 January 2014 . ^ a b c Heyman, Marshall (5 November 2013). "Model Plus Animals" (https://online.wsj.com/news/articles/SB10001424052702304391204579180172000306050) . The Wall Street Journal (/wiki/The_Wall_Street_Journal) . Retrieved 14 January 2014 . ^ a b c Sherman, Lauren (7 November 2013). "Plus-Size Poster Girl Robyn Lawley Bares It All in a New Gallery Exhibit" (http://www.elle.com/news/culture/robyn-lawley-plus-size-exhibit) . elle.com . Retrieved 14 January 2014 . ^ a b c Brown, Emma (8 November 2013). "Kenneth Willardt's Augmented Debut" (http://www.interviewmagazine.com/art/kenneth-willardt#_) . Interview Magazine . Retrieved 14 January 2014 . ^ a b Stampler, Laura (5 February 2015). "Meet the First Plus-Size Model in Sports Illustrated Swimsuit Edition History" (http://time.com/3697015/sports-illustrated-swimsuit-edition-plus-size-model-robyn-lawley) . Time (/wiki/Time_(magazine)) . Retrieved 11 February 2015 . ^ (#cite_ref-30) McKenzie, Sarah (10 July 2013). "Robyn Lawley launches swimwear line" (http://www.stuff.co.nz/life-style/fashion/8902089/Robyn-Lawley-launches-swimwear-line) . stuff.co.nz . Retrieved 29 October 2013 . ^ a b Leibowitz, Lauren (9 July 2013). "Robyn Lawley Swimwear Line Is on Presale Now (PHOTOS)" (https://huffingtonpost.com/2013/07/09/robyn-lawley-swimwear-photos_n_3566769.html) . HuffPost . Retrieved 29 October 2013 . ^ (#cite_ref-32) Raskin, Aaron (20 September 2013). "Model Crush:Tara Lynn" (https://galoremag.com/model-crush-tara-lynn/) . galoremag.com/ . Galore Magazine . Retrieved 3 January 2014 . ^ (#cite_ref-33) Winick, Kate (2 December 2013). "Instagram Star Leah Kelley on Plus-Size Modeling, Body Image, and Never Reading Comments" (http://www.elle.com/news/fashion-style/leah-kelley-plus-size) . elle.com . Hearst Communications, Inc . Retrieved 3 January 2014 . ^ (#cite_ref-34) Adams, Rebecca (3 December 2013). " (https://huffingtonpost.com/2013/12/03/leah-kelley_n_4376977.html) 'Plus-Size' Model Leah Kelley: We Need More Size 8 Models" (https://huffingtonpost.com/2013/12/03/leah-kelley_n_4376977.html) . HuffPost . Retrieved 3 January 2014 . ^ (#cite_ref-35) "Robyn Lawley's Nutella Souffle" (https://abcnews.go.com/GMA/recipe/robyn-lawleys-nutella-souffle-17269239) . United States: ABC News . Retrieved 18 January 2013 . ^ (#cite_ref-36) "Robyn Lawley's Spicy Sunset Fettucine" (http://au.tv.yahoo.com/video/-/watch/91b29653_c71c_3b33_b198_8d283375c935/robyn-lawleys-spicy-sunset-fettucine/) . au.tv.yahoo.com . 17 January 2013 . Retrieved 18 January 2013 . ^ (#cite_ref-37) Lawley, Robyn (26 September 2012). "Ralph Lauren Plus-Size Model Robyn Lawley: I'm Proud of My Body" (http://www.thedailybeast.com/articles/2012/09/26/ralph-lauren-plus-size-model-robyn-lawley-i-m-proud-of-my-body.html) . thedailybeast.com/ . Retrieved 12 December 2013 . ^ (#cite_ref-38) Lawley, Robyn (28 October 2013). "Robyn Lawley: Why The Dangerous "Thigh Gap" Trend Makes Me Mad" (http://www.thedailybeast.com/articles/2013/10/28/robyn-lawley-why-the-dangerous-thigh-gap-trend-makes-me-mad.html) . thedailybeast.com . Retrieved 12 December 2013 . ^ (#cite_ref-Natasa_Colo_39-0) Natasa Colo (8 August 2011). "Socials Goss: Cosmopolitan Magazine's Fun, Fearless Female Awards" (http://nine-to-five.whereilive.com.au/lifestyle/story/socials-goss-cosmopolitan-magazines-fun-fearless-female-awards) . nine-to-five.whereilive.com.au . Nine to Five . Retrieved 15 February 2012 . ^ (#cite_ref-pedestrian.tv_40-0) "The Sydney Magazines 100 Most Influential Sydneysiders" (http://www.pedestrian.tv/fashion/news/the-sydney-magazines-100-most-influential-sydneysi/59969.htm) . pedestrian.tv . 12 September 2011. ^ (#cite_ref-FFFWEEK®_2013_AWARDS_41-0) "FFFWEEK® 2013 AWARDS" (http://www.fffweek.com/2013/awards) . The Official Full Figured Fashion Week 2013 . External links [ edit ] Wikimedia Commons has media related to Robyn Lawley (https://commons.wikimedia.org/wiki/Category:Robyn_Lawley) . Official website (http://www.robynlawley.com) Robyn Lawley (https://www.fashionmodeldirectory.com/models/robyn_lawley/) at Fashion Model Directory (/wiki/Fashion_Model_Directory) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐bxsn7 Cached time: 20240720170847 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.588 seconds Real time usage: 0.762 seconds Preprocessor visited node count: 4004/1000000 Post‐expand include size: 84076/2097152 bytes Template argument size: 3754/2097152 bytes Highest expansion depth: 13/100 Expensive parser function count: 4/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 158492/5000000 bytes Lua time usage: 0.404/10.000 seconds Lua memory usage: 10774661/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 704.696 1 -total 37.98% 267.664 1 Template:Reflist 31.38% 221.157 1 Template:Infobox_model 27.03% 190.500 32 Template:Cite_web 10.37% 73.045 1 Template:Short_description 7.10% 50.046 1 Template:Birth_date_and_age 7.00% 49.343 1 Template:Lead_too_short 6.70% 47.212 1 Template:Ambox 5.72% 40.312 2 Template:Pagetype 5.71% 40.258 1 Template:Infobox Saved in parser cache with key enwiki:pcache:idhash:34734157-0!canonical and timestamp 20240720170847 and revision id 1232258627. 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Wikipedia overview article This article needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Body_jewelry_sizes) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed. Find sources: "Body jewelry sizes" (https://www.google.com/search?as_eq=wikipedia&q=%22Body+jewelry+sizes%22) – news (https://www.google.com/search?tbm=nws&q=%22Body+jewelry+sizes%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Body+jewelry+sizes%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Body+jewelry+sizes%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Body+jewelry+sizes%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Body+jewelry+sizes%22&acc=on&wc=on) ( January 2021 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Body jewelry sizes express the thickness of an item of body jewelry (/wiki/Body_jewelry) , using one of several possible systems. Background [ edit ] Main article: American wire gauge § Nomenclature and abbreviations in electrical distribution (/wiki/American_wire_gauge#Nomenclature_and_abbreviations_in_electrical_distribution) Items of body piercing jewelry (/wiki/Body_piercing_jewelry) have an important common factor: the diameter of the part of the item of jewelry where it will rest in the piercing site. With the wearing of European-traditional kinds of earrings (/wiki/Earrings) , that thickness is not an issue, because jewelry is made to use only thin wire for support, and the wearer need only have a narrow piercing hole to accommodate it. But with body jewelry, there is a wide variety of possible sizes, and wearers generally want jewelry that is the same size as their piercing site. Some wearers want increasingly larger sizes to deliberately stretch the hole (/wiki/Stretching_(body_piercing)) . So that wearers can choose the size they want, there are standards for body jewelry sizes, used by jewelry makers and sellers. Generally, the system of gauge-and-inches is used: In gauge notation, jewelry less than 1 ⁄ 2 ″ thick is typically measured in a system originally devised for measuring wire thickness. A gauge number denotes a thickness on a standardized scale which, for most purposes, starts at 20g (0.812 mm thick— often used for the posts for nose studs (/wiki/Nose_studs) ), and increases in thickness (as the gauge number decreases ) to 0g, then 00g, and rarely goes any further as these thicknesses come closer and closer to 1 ⁄ 2 ″. From there, sizes of 1 ⁄ 2 ″ and thicker are always specified in fractions of an inch. (But note that sizes thinner than 1 ⁄ 2 ″ are also sometimes specified as fractions of an inch; see the Conversion Table to see how these interleave with gauges.) Even though the gauge system was originally meant for wire, it is now used regardless of whether an item of body jewelry is an actual wire, or is instead a wooden plug, a plastic ring, or any other material (/wiki/Body_piercing_materials) . The alternative to using the gauge-and-inches system is to specify the thickness in millimeters. Conversion table [ edit ] Further information: American wire gauge § Tables of AWG wire sizes (/wiki/American_wire_gauge#Tables_of_AWG_wire_sizes) gauge ( AWG (/wiki/American_wire_gauge) ) diameter inches fractional inches decimal millimeters 20 · 0.0320 0.812 18 · 0.0403 1.024 16 · 0.0508 1.291 · 1 ⁄ 16 0.0625 1.588 14 · 0.0641 1.628 12 · 0.0808 2.05 10 · 0.1019 2.58 · 1 ⁄ 8 0.1250 3.18 8 · 0.1285 3.26 6 · 0.1620 4.12 · 3 ⁄ 16 0.1875 4.76 4 · 0.204 5.19 · 1 ⁄ 4 0.250 6.35 2 · 0.258 6.54 · 5 ⁄ 16 0.312 7.94 0 · 0.325 8.25 00 · 0.365 9.27 · 3 ⁄ 8 0.375 9.52 000 · 0.410 10.40 · 7 ⁄ 16 0.438 11.11 0000 · 0.460 11.68 · 1 ⁄ 2 0.500 12.70 · 9 ⁄ 16 0.562 14.29 · 5 ⁄ 8 0.625 15.88 · 11 ⁄ 16 0.688 17.46 · 3 ⁄ 4 0.750 19.05 · 13 ⁄ 16 0.812 20.6 · 7 ⁄ 8 0.875 22.2 · 15 ⁄ 16 0.938 23.8 · 1 1.000 25.4 · 1 + 1 ⁄ 16 1.062 27.0 · 1 + 1 ⁄ 8 1.125 28.6 · 1 + 3 ⁄ 16 1.188 30.2 · 1 + 1 ⁄ 4 1.250 31.8 · 1 + 5 ⁄ 16 1.312 33.3 · 1 + 3 ⁄ 8 1.375 34.9 · 1 + 7 ⁄ 16 1.438 36.5 · 1 + 1 ⁄ 2 1.500 38.1 · 1 + 9 ⁄ 16 1.562 39.7 · 1 + 5 ⁄ 8 1.625 41.3 · 1 + 11 ⁄ 16 1.688 42.9 · 1 + 3 ⁄ 4 1.750 44.4 · 1 + 13 ⁄ 16 1.812 46.0 · 1 + 7 ⁄ 8 1.875 47.6 · 1 + 15 ⁄ 16 1.938 49.2 · 2 2.000 50.8 Usage of the systems [ edit ] Some jewelry makers or sellers who express the size of their jewelry in millimeters, may also list the nearest approximate gauge-and-inches measurements for each item. [1] (#cite_note-1) Using millimeters as the primary notation is most common in Europe and Australia. Units and notation [ edit ] Discussions of gauge in this article use the American Wire Gauge (/wiki/American_Wire_Gauge) (AWG) scale. Some jewelry may use the significantly different Standard Wire Gauge (/wiki/Standard_Wire_Gauge) (SWG) scale instead, particularly jewelry from Canada (/wiki/Canada) or the United Kingdom (/wiki/United_Kingdom) where the SWG scale is used. [2] (#cite_note-2) Both AWG and SWG express sizes as a gauge, but the numbers are different. For example, AWG 12g is 2.1 mm, but SWG 12g is 2.6 mm. AWG 8g happens to be the same as SWG 10g. AWG 000g is 10.4 mm, but SWG 000g is 9.4 mm. In most discussions of body jewelry, sizes are specified by giving the gauge, usually abbreviated by the suffix "g", the same symbol as used for grams (/wiki/Gram) : "12g". The article American Wire Gauge system, section "Nomenclature and abbreviations in electrical distribution" (/wiki/American_Wire_Gauge#Nomenclature_and_abbreviations_in_electrical_distribution) shows other notations for gauge, but most are rarely used for expressing body jewelry sizes, except "ga." as in "12 ga.", which is used occasionally. See also [ edit ] Jewelry wire gauge (/wiki/Jewelry_wire_gauge) Earring (/wiki/Earring) Body piercing (/wiki/Body_piercing) Body piercing jewelry (/wiki/Body_piercing_jewelry) Body piercing materials (/wiki/Body_piercing_materials) Wire (/wiki/Wire) IEC 60228 (/wiki/IEC_60228) , the metric wire-size standard used in most parts of the world. American wire gauge (/wiki/American_wire_gauge) , used primarily in the US and Canada Standard wire gauge (/wiki/Standard_wire_gauge) , the British imperial standard BS3737, superseded by the metric. Stubs Iron Wire Gauge (/wiki/Stubs_Iron_Wire_Gauge) Circular mil (/wiki/Circular_mil) , Electrical industry standard for wires larger than 4/0. Number 8 wire (/wiki/Number_8_wire) , a term used in the New Zealand vernacular External links [ edit ] SteelNavel.com Body Piercing Jewelry Size Reference (http://www.steelnavel.com/reference.asp) — illustrating the different ways that size is measured on different kinds of jewelry Notes [ edit ] ^ (#cite_ref-1) As supporting examples for the claim about just-gauge, metric-and-gauge, and just-metric: Just in gauge-inches: an example item at Tribalectic (http://www.tribalectic.com/store/pc/viewPrd.asp?idproduct=3361&idcategory=111&piercingLocationID=33&mt=&gauge=&IDBrand=) Archived (https://web.archive.org/web/20160304040034/http://www.tribalectic.com/store/pc/viewPrd.asp?idproduct=3361&idcategory=111&piercingLocationID=33&mt=&gauge=&IDBrand=) March 4, 2016, at the Wayback Machine (/wiki/Wayback_Machine) . With metric and gauge: an example item at Body Jewelleryshop (http://www.bodyjewelleryshop.com/online_store/steel_bananabells_24mm_3205222.cfm) . Just in metric: an example item at Neo-Piercing (http://www.neo-piercing.com/piercing-anneau-captif-en-acier-plaque-hematite-bijou-2322.html) , and an example item at Inoki Piercing (http://www.inoki-piercing.fr/modele-ACA001-anneau-segment-acier.html) . ^ (#cite_ref-2) Kaska, Firor (19 November 2013). Weaving Freeform Wire Jewelry: Step-by-Step Techniques, 20 Versatile Designs . Kalmbach Books. p. 8. ISBN (/wiki/ISBN_(identifier)) 978-0-87116-703-3 . v t e Body piercing (/wiki/Body_piercing) General piercing topics Contemporary piercing practices (/wiki/Body_piercing#Contemporary_piercing_practices) Scalpelling (/wiki/Scalpelling) Stretching (/wiki/Stretching_(body_piercing)) Play piercing (/wiki/Play_piercing) Pocketing (/wiki/Pocketing) Surface piercing (/wiki/Surface_piercing) Ear piercing gun (/wiki/Ear_piercing_instrument) Jewelry (/wiki/Body_piercing_jewellery) ( materials (/wiki/Body_piercing_materials) ) Barbell (/wiki/Barbell_(piercing)) Claw (/wiki/Claw_(piercing)) Captive bead ring (/wiki/Captive_bead_ring) Flesh tunnel (/wiki/Flesh_tunnel) Plug (/wiki/Plug_(jewellery)) Prince's wand (/wiki/Prince%27s_wand) Spiral (/wiki/Spiral_(piercing)) Stud (/wiki/Stud_(piercing)) Nose chain (/wiki/Nose_chain) Nipple shield (/wiki/Nipple_shield_(jewelry)) Ear piercings (/wiki/Earring) Antitragus (/wiki/Antitragus_piercing) Conch (/wiki/Conch_piercing) Daith (/wiki/Daith_piercing) Helix (/wiki/Helix_piercing) Industrial (/wiki/Industrial_piercing) Orbital (/wiki/Orbital_piercing) Rook (/wiki/Rook_(piercing)) Snug (/wiki/Snug_(piercing)) Tragus (/wiki/Tragus_piercing) Facial piercings Anti-eyebrow (/wiki/Anti-eyebrow) Cheek (/wiki/Cheek_piercing) Eyebrow (/wiki/Eyebrow_piercing) Jestrum (/wiki/Jestrum_piercing) Labret (/wiki/Labret) Lip (/wiki/Lip_piercing) ( Lip plate (/wiki/Lip_plate) ) Monroe (/wiki/Monroe_piercing) Nose (/wiki/Nose_piercing) ( Septum piercing (/wiki/Septum_piercing) ) Nose bridge (/wiki/Bridge_piercing) Philtrum (/wiki/Philtrum_piercing) Oral piercings Lip frenulum (/wiki/Lip_frenulum_piercing) Tongue (/wiki/Tongue_piercing) Tongue frenulum (/wiki/Tongue_frenulum_piercing) Uvula (/wiki/Uvula_piercing) Body piercings Corset (/wiki/Corset_piercing) Hand web (/wiki/Hand_web_piercing) Hip (/wiki/Hip_piercing) Madison (/wiki/Madison_piercing) Nape (/wiki/Nape_piercing) Navel (/wiki/Navel_piercing) Neck (/wiki/Neck_piercing) Nipple (/wiki/Nipple_piercing) Wrist (/wiki/Wrist_piercing) Unisex genital piercings (/wiki/Unisex_genital_piercings) Anus (/wiki/Anal_piercing) Guiche (/wiki/Guiche_piercing) Pubic (/wiki/Pubic_piercing) Chastity (/wiki/Chastity_piercing) Female genital piercings (/wiki/Female_genital_piercings) Christina (/wiki/Christina_piercing) Clitoris (/wiki/Clitoris_piercing) Clitoral hood (/wiki/Clitoral_hood_piercing) Fourchette (/wiki/Fourchette_piercing) Isabella (/wiki/Isabella_piercing) Labia (/wiki/Labia_piercing) Nefertiti (/wiki/Nefertiti_piercing) Princess Albertina (/wiki/Princess_Albertina_piercing) Triangle (/wiki/Triangle_piercing) Male genital piercings (/wiki/Male_genital_piercing) Ampallang (/wiki/Ampallang) Apadravya (/wiki/Apadravya) Deep shaft (/wiki/Deep_shaft_piercing) Dydoe (/wiki/Dydoe) Fibula (/wiki/Fibula_(penile)) Foreskin (/wiki/Foreskin_piercing) Frenum (/wiki/Frenum_piercing) Hafada (/wiki/Hafada_piercing) Lorum (/wiki/Lorum_(piercing)) Magic cross (/wiki/Magic_cross_piercing) Prince Albert (/wiki/Prince_Albert_(genital_piercing)) Reverse Prince Albert (/wiki/Reverse_Prince_Albert_piercing) Transscrotal (/wiki/Transscrotal_piercing) See also Body piercing regulation in the UK (/wiki/Body_piercing_regulation_in_the_UK) List of body piercings (/wiki/List_of_body_piercings) v t e Jewellery (/wiki/Jewellery) Forms (/wiki/List_of_jewellery_types) Anklet (/wiki/Anklet) Barrette (/wiki/Hair_clip) Belly chain (/wiki/Belly_chain) Belt buckle (/wiki/Belt_buckle) Bindi (/wiki/Bindi_(decoration)) Bolo tie (/wiki/Bolo_tie) Bracelet (/wiki/Bracelet) Brooch (/wiki/Brooch) Chatelaine (/wiki/Chatelaine_(chain)) Collar pin (/wiki/Collar_pin) Crown (/wiki/Crown) Cufflink (/wiki/Cufflink) Earring (/wiki/Earring) Ferronnière (/wiki/Ferronni%C3%A8re) Genital (/wiki/Genital_jewellery) Lapel pin (/wiki/Lapel_pin) Necklace (/wiki/Necklace) Neck ring (/wiki/Neck_ring) Pectoral (/wiki/Pectoral_(Ancient_Egypt)) Pendant (/wiki/Pendant) Ring (/wiki/Ring_(jewellery)) Tiara (/wiki/Tiara) Tie chain (/wiki/Tie_chain) Tie clip (/wiki/Tie_clip) Tie pin (/wiki/Tie_pin) Toe ring (/wiki/Toe_ring) Watch (/wiki/Watch) pocket (/wiki/Pocket_watch) strap (/wiki/Watch_strap) Making People Bench jeweler (/wiki/Bench_jeweler) Clockmaker (/wiki/Clockmaker) Goldsmith (/wiki/Goldsmith) Jewellery designer (/wiki/Jewellery_design) Lapidarist (/wiki/Lapidary) Silversmith (/wiki/Silversmith) Watchmaker (/wiki/Watchmaker) Processes Carving (/wiki/Cameo_(carving)) Casting (/wiki/Metal_casting) centrifugal (/wiki/Centrifugal_casting_(silversmithing)) lost-wax (/wiki/Lost-wax_casting) vacuum (/wiki/Metal_casting) Enameling (/wiki/Vitreous_enamel) Engraving (/wiki/Engraved_gem) Filigree (/wiki/Filigree) Kazaziye (/wiki/Kazaziye) Metal clay (/wiki/Metal_clay) Plating (/wiki/Plating) Polishing (/wiki/Polishing_(metalworking)) Repoussé and chasing (/wiki/Repouss%C3%A9_and_chasing) Soldering (/wiki/Soldering) Stonesetting (/wiki/Stonesetting) Wire sculpture (/wiki/Wire_sculpture) Wire wrapped jewelry (/wiki/Wire_wrapped_jewelry) Tools Draw plate (/wiki/Draw_plate) File (/wiki/File_(tool)) Hammer (/wiki/Hammer) Mandrel (/wiki/Mandrel) Pliers (/wiki/Pliers) Materials Precious metals (/wiki/Precious_metal) Gold (/wiki/Gold) Palladium (/wiki/Palladium) Platinum (/wiki/Platinum) Rhodium (/wiki/Rhodium) Silver (/wiki/Silver) Precious metal alloys (/wiki/Alloy) Britannia silver (/wiki/Britannia_silver) Colored gold (/wiki/Colored_gold) Crown gold (/wiki/Crown_gold) Electrum (/wiki/Electrum) Shakudō (/wiki/Shakud%C5%8D) Shibuichi (/wiki/Shibuichi) Sterling silver (/wiki/Sterling_silver) Argentium (/wiki/Argentium_sterling_silver) Tumbaga (/wiki/Tumbaga) Base metals (/wiki/Base_metal) Brass (/wiki/Brass) Bronze (/wiki/Bronze) Copper (/wiki/Copper) Mokume-gane (/wiki/Mokume-gane) Nickel silver (alpacca) (/wiki/Nickel_silver) Pewter (/wiki/Pewter) Pinchbeck (/wiki/Pinchbeck_(alloy)) Stainless steel (/wiki/Stainless_steel) Titanium (/wiki/Titanium) Tungsten (/wiki/Tungsten) Mineral gemstones (/wiki/Gemstone) Agate (/wiki/Agate) Amazonite (/wiki/Amazonite) Amethyst (/wiki/Amethyst) Aventurine (/wiki/Aventurine) Beryl (/wiki/Beryl) ( red (/wiki/Red_beryl) ) Carnelian (/wiki/Carnelian) Chrysoberyl (/wiki/Chrysoberyl) Chrysocolla (/wiki/Chrysocolla) Diamond (/wiki/Diamond) Diopside (/wiki/Diopside) Emerald (/wiki/Emerald) Fluorite (/wiki/Fluorite) Garnet (/wiki/Garnet) Howlite (/wiki/Howlite) Jade (/wiki/Jade) Jasper (/wiki/Jasper) Kyanite (/wiki/Kyanite) Labradorite (/wiki/Labradorite) Lapis lazuli (/wiki/Lapis_lazuli) Larimar (/wiki/Larimar) Malachite (/wiki/Malachite) Marcasite (/wiki/Marcasite_jewellery) Moonstone (/wiki/Moonstone_(gemstone)) Obsidian (/wiki/Obsidian) Onyx (/wiki/Onyx) Opal (/wiki/Opal) Peridot (/wiki/Peridot) Prasiolite (/wiki/Prasiolite) Quartz (/wiki/Quartz) ( smoky (/wiki/Smoky_quartz) ) Ruby (/wiki/Ruby) Sapphire (/wiki/Sapphire) Sodalite (/wiki/Sodalite) Spinel (/wiki/Spinel) Sunstone (/wiki/Sunstone) Tanzanite (/wiki/Tanzanite) Tiger's eye (/wiki/Tiger%27s_eye) Topaz (/wiki/Topaz) Tourmaline (/wiki/Tourmaline) Turquoise (/wiki/Turquoise) Variscite (/wiki/Variscite) Zircon (/wiki/Zircon) Organic gemstones Abalone (/wiki/Abalone) Amber (/wiki/Amber) Ammolite (/wiki/Ammolite) Copal (/wiki/Copal) Coral (/wiki/Coral) Black (/wiki/Black_coral) Precious (/wiki/Precious_coral) Ivory (/wiki/Ivory) Jet (/wiki/Jet_(gemstone)) Nacre (/wiki/Nacre) Operculum (/wiki/Operculum_(gastropod)) Pearl (/wiki/Pearl) Tortoiseshell (/wiki/Tortoiseshell) Other natural objects Bezoar (/wiki/Bezoar) Bog-wood (/wiki/Bog-wood) Ebonite (vulcanite) (/wiki/Ebonite) Gutta-percha (/wiki/Gutta-percha) Hair (/wiki/Hair_jewellery) Shell (/wiki/Shell_jewelry) Spondylus shell (/wiki/Spondylus) Toadstone (/wiki/Toadstone) Terms Art jewelry (/wiki/Art_jewelry) Carat (/wiki/Carat_(mass)) (mass) Carat (/wiki/Fineness#Carat) (purity) Finding (/wiki/Finding_(jewelcrafting)) Fineness (/wiki/Fineness) Related topics Body piercing (/wiki/Body_piercing) Fashion (/wiki/Fashion) Gemology (/wiki/Gemology) Metalworking (/wiki/Metalworking) Phaleristics (/wiki/Phaleristics) Wearable art (/wiki/Wearable_art) v t e United States customary units (/wiki/United_States_customary_units) Comparison with imperial unit system (/wiki/Comparison_of_the_imperial_and_US_customary_measurement_systems) Length Thousandth of an inch (/wiki/Thousandth_of_an_inch) Inch (/wiki/Inch) Hand (/wiki/Hand_(unit)) Link (/wiki/Link_(unit)) Foot (/wiki/Foot_(unit)) Yard (/wiki/Yard) Rod (/wiki/Rod_(unit)) Chain (/wiki/Chain_(unit)) Furlong (/wiki/Furlong) Mile (/wiki/Mile) statute (/wiki/Statute_mile) Area Square inch (/wiki/Square_inch) Square foot (/wiki/Square_foot) Square yard (/wiki/Square_yard) Acre (/wiki/Acre) Square mile (/wiki/Square_mile) Volume Derived Cubic inch (/wiki/Cubic_inch) Cubic foot (/wiki/Cubic_foot) Cubic yard (/wiki/Cubic_yard) Cubic mile (/wiki/Cubic_mile) Cooking Teaspoon (/wiki/Teaspoon) Tablespoon (/wiki/Tablespoon) Fluid ounce (/wiki/Fluid_ounce) Cup (/wiki/Cup_(unit)) Pint (/wiki/Pint) Quart (/wiki/Quart) Gallon (/wiki/Gallon) Wood Board foot (/wiki/Board_foot) Cord (/wiki/Cord_(unit)) Face cord (/wiki/Face_cord) Other Minim (/wiki/Minim_(unit)) Gill (/wiki/Gill_(unit)) Peck (/wiki/Peck) Bushel (/wiki/Bushel) Barrel (/wiki/Barrel_(unit)) Acre-foot (/wiki/Acre-foot) Speed Feet per second (/wiki/Feet_per_second) Miles per hour (/wiki/Miles_per_hour) Mass Grain (/wiki/Grain_(unit)) Dram (/wiki/Dram_(unit)) Ounce (/wiki/Ounce) Pound (/wiki/Pound_(mass)) Hundredweight (/wiki/Hundredweight) Ton (/wiki/Ton) Long (/wiki/Long_ton) Short (/wiki/Short_ton) Force Poundal (/wiki/Poundal) Pound-force (/wiki/Pound_(force)) Kip (/wiki/Kip_(unit)) Pressure Inch of mercury (/wiki/Inch_of_mercury) Pounds per square inch (/wiki/Pounds_per_square_inch) Kilopounds per square inch (/wiki/Ksi_(unit)) Other units and measures Bolt (cloth) (/wiki/Bolt_(cloth)) British thermal unit (/wiki/British_thermal_unit) Degree (angle) (/wiki/Degree_(angle)) Fahrenheit (/wiki/Fahrenheit) Foot-candle (/wiki/Foot-candle) Foot-lambert (/wiki/Foot-lambert) Foot-pound (energy) (/wiki/Foot-pound_(energy)) Horsepower (/wiki/Horsepower) Perm (/wiki/Perm_(unit)) Pound-foot (torque) (/wiki/Pound-foot_(torque)) Spinning count (/wiki/Spinning_count) Ton of refrigeration (/wiki/Ton_of_refrigeration) Related systems American wire gauge (/wiki/American_wire_gauge) Avoirdupois system (/wiki/Avoirdupois_system) Body jewelry sizes English Engineering Units (/wiki/English_Engineering_Units) Foot–pound–second system of units (/wiki/Foot%E2%80%93pound%E2%80%93second_system_of_units) NewPP limit report Parsed by mw‐web.eqiad.main‐8645764cd7‐mw7xr Cached time: 20240712172218 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.607 seconds Real time usage: 0.759 seconds Preprocessor visited node count: 2084/1000000 Post‐expand include size: 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The main article for this category (/wiki/Help:Categories) is History of cosmetics (/wiki/History_of_cosmetics) . Wikimedia Commons has media related to History of cosmetics (https://commons.wikimedia.org/wiki/Category:History_of_cosmetics) . 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Rendering was triggered because: page-view Subcategories This category has only the following subcategory. L Lipstick (/wiki/Category:Lipstick) ‎ (6 P) Pages in category "History of cosmetics" The following 93 pages are in this category, out of 93 total. This list may not reflect recent changes (/wiki/Wikipedia:FAQ/Categorization#Why_might_a_category_list_not_be_up_to_date?) . History of cosmetics (/wiki/History_of_cosmetics) A American Yvette Company (/wiki/American_Yvette_Company) Anna Hebrea (/wiki/Anna_Hebrea) Annatto (/wiki/Annatto) Aramis (fragrance) (/wiki/Aramis_(fragrance)) Elizabeth Arden (/wiki/Elizabeth_Arden) Arpège (/wiki/Arp%C3%A8ge) B Beauty and cosmetics in ancient Egypt (/wiki/Beauty_and_cosmetics_in_ancient_Egypt) Ben Nye Makeup Company (/wiki/Ben_Nye_Makeup_Company) Bleu de Chanel (/wiki/Bleu_de_Chanel) Bois des Îles (/wiki/Bois_des_%C3%8Eles) Donna Marcella Borghese (/wiki/Donna_Marcella_Borghese) C CC cream (/wiki/CC_cream) Chanel No. 5 (/wiki/Chanel_No._5) Chanel No. 22 (/wiki/Chanel_No._22) Charles of the Ritz (/wiki/Charles_of_the_Ritz) Parfums Christian Dior (/wiki/Parfums_Christian_Dior) Chypre (/wiki/Chypre) Classique (fragrance) (/wiki/Classique_(fragrance)) Clinique (/wiki/Clinique) Cosmetics in ancient Rome (/wiki/Cosmetics_in_ancient_Rome) Cosmetics in the 1920s (/wiki/Cosmetics_in_the_1920s) Coty (/wiki/Coty) François Coty (/wiki/Fran%C3%A7ois_Coty) Creed (perfume house) (/wiki/Creed_(perfume_house)) Cuir de Russie (/wiki/Cuir_de_Russie) D Dermacol (/wiki/Dermacol) Jean Despres (/wiki/Jean_Despres) E Égoïste (/wiki/%C3%89go%C3%AFste) Eisenberg Paris (/wiki/Eisenberg_Paris) Elizabeth Arden, Inc. (/wiki/Elizabeth_Arden,_Inc.) Emlin (/wiki/Emlin) The Estée Lauder Companies (/wiki/The_Est%C3%A9e_Lauder_Companies) F Face powder (/wiki/Face_powder) Max Factor Sr. (/wiki/Max_Factor_Sr.) Female cosmetic coalitions (/wiki/Female_cosmetic_coalitions) Fenjal (/wiki/Fenjal) First (perfume) (/wiki/First_(perfume)) G Grenoville (/wiki/Grenoville) Guerlain (/wiki/Guerlain) H Hard Candy (cosmetics) (/wiki/Hard_Candy_(cosmetics)) Helene Curtis Industries, Inc. (/wiki/Helene_Curtis_Industries,_Inc.) Huadian (make-up) (/wiki/Huadian_(make-up)) Hungary water (/wiki/Hungary_water) I Ingredients of cosmetics (/wiki/Ingredients_of_cosmetics) Institut Jeanne Gatineau (/wiki/Institut_Jeanne_Gatineau) J Jicky (/wiki/Jicky) K Mary Kay (/wiki/Mary_Kay) Kiehl's (/wiki/Kiehl%27s) Kohl (cosmetics) (/wiki/Kohl_(cosmetics)) Krank Manufacturing Company building (/wiki/Krank_Manufacturing_Company_building) L L'Oréal (/wiki/L%27Or%C3%A9al) Lady Esther (/wiki/Lady_Esther) Lancôme (/wiki/Lanc%C3%B4me) Estée Lauder (businesswoman) (/wiki/Est%C3%A9e_Lauder_(businesswoman)) Lauren (perfume) (/wiki/Lauren_(perfume)) Le Male (/wiki/Le_Male) Lenthéric (/wiki/Lenth%C3%A9ric) Lipstick (/wiki/Lipstick) Love Cosmetics (/wiki/Love_Cosmetics) Serge Lutens (/wiki/Serge_Lutens) LVMH (/wiki/LVMH) M MAC Cosmetics (/wiki/MAC_Cosmetics) Makeup Museum (/wiki/Makeup_Museum) Max Factor (/wiki/Max_Factor) Medicamina Faciei Femineae (/wiki/Medicamina_Faciei_Femineae) Mitsouko (/wiki/Mitsouko) Germaine Monteil (/wiki/Germaine_Monteil) N Nail polish (/wiki/Nail_polish) O Ohaguro (/wiki/Ohaguro) Olay (/wiki/Olay) Alexander Ostroumov (/wiki/Alexander_Ostroumov) P Parfums Caron (/wiki/Parfums_Caron) History of perfume (/wiki/History_of_perfume) R Horst Rechelbacher (/wiki/Horst_Rechelbacher) Revlon (/wiki/Revlon) Eugène Rimmel (/wiki/Eug%C3%A8ne_Rimmel) Anita Roddick (/wiki/Anita_Roddick) Edmond Roudnitska (/wiki/Edmond_Roudnitska) Helena Rubinstein (/wiki/Helena_Rubinstein) Sarah Rachel Russell (/wiki/Sarah_Rachel_Russell) S Eugène Schueller (/wiki/Eug%C3%A8ne_Schueller) Shalimar (perfume) (/wiki/Shalimar_(perfume)) Christopher Sheldrake (/wiki/Christopher_Sheldrake) Stila (/wiki/Stila) T Theraderm (/wiki/Theraderm) U Uoma Beauty (/wiki/Uoma_Beauty) V V. 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Alba Galindo Born Alba Galindo ( 1981-02-26 ) February 26, 1981 (age 43) Miami, Florida (/wiki/Miami,_Florida) , United States (/wiki/United_States) Nationality Colombian (/wiki/Colombia) Occupation(s) Model (/wiki/Model_(people)) Television host (/wiki/Television_presenter) Alba Galindo (born February 26, 1981) is an American (/wiki/United_States) -born Colombian (/wiki/Colombia) model (/wiki/Model_(people)) , television host (/wiki/Television_presenter) , and sportscaster (/wiki/Sportscaster) , who currently works for ESPN Deportes (/wiki/ESPN_Deportes) . Galindo is well known for her previous role as a Senadora on the weekly sports show República Deportiva (/wiki/Rep%C3%BAblica_Deportiva) on Univision (/wiki/Univision) . Career [ edit ] Galindo was born in Miami (/wiki/Miami) , but moved to Cali (/wiki/Cali) , Colombia (/wiki/Colombia) soon thereafter. At the age of seventeen, she began her modeling career. Galindo was a model for various companies including Marlboro (/wiki/Marlboro_(cigarette)) , Buchanan's (/wiki/Buchanan%27s) , and Johnnie Walker (/wiki/Johnnie_Walker) . Three years later, she returned to her native Miami to further her career in the industry. Numerous opportunities for appearing in sportswear and swimsuit catalogues resulted after the move. In 2004, Galindo won the Miss Republica Deportiva competition held by Univision (/wiki/Univision) . Two years later, she participated in the Yo Quiero Ser Senadora contest to win a spot on the popular show Republica Deportiva (/wiki/Republica_Deportiva) . She was ultimately chosen and signed a contract with the network. [1] (#cite_note-1) From 2006 through 2015, she formed a longstanding duo on the program with the fellow Miami-born Colombian model Natalia Saenz (/wiki/Natalia_Saenz) . On 11 January 2015, Galindo announced that she would not be returning to Republica Deportiva. [2] (#cite_note-2) On 14 April 2015, Galindo joined ESPN Deportes (/wiki/ESPN_Deportes) . [3] (#cite_note-3) She was host of the "Redes ESPN" and still participate as talent in NFL and NBA games for USA and Latin America. Filmography [ edit ] Film Year Title Role Notes 2008 Pecados de una profesora Chica playa Direct-to-video (/wiki/Direct-to-video) Television Year Title Role Notes 2005 El Gordo y la Flaca (/wiki/El_Gordo_y_la_Flaca) Herself Episode on June 23 2008 Valeria (/wiki/Valeria_(2008_TV_series)) Nancy Mistral Episode #1.1 2006–2015 República Deportiva (/wiki/Rep%C3%BAblica_Deportiva) Herself References [ edit ] ^ (#cite_ref-1) "Shine Entertainment" (https://web.archive.org/web/20120618215750/http://www.shineentertainment.tv/nshine/main/show_talents/41) . Archived from the original (http://www.shineentertainment.tv/nshine/main/show_talents/41) on 2012-06-18 . Retrieved 2013-08-08 . ^ (#cite_ref-2) "Alba Galindo se despide de la República Deportiva - Univision Deportes" (https://web.archive.org/web/20150226012555/http://deportes.univision.com/republica-deportiva/videos/video/2015-01-11/alba-galindo-se-despide-de) . Archived from the original (http://deportes.univision.com/republica-deportiva/videos/video/2015-01-11/alba-galindo-se-despide-de) on 2015-02-26 . Retrieved 2015-02-25 . ^ (#cite_ref-3) "UTSA hosts live broadcast by ESPN Deportes April 14" (http://www.utsa.edu/today/2015/04/redes.html) . www.utsa.edu . Retrieved 16 July 2018 . External links [ edit ] Official website (https://web.archive.org/web/20160326080448/http://www.albagalindo.net/) Alba Galindo (https://www.imdb.com/name/nm2078884/) at IMDb (/wiki/IMDb_(identifier)) This Colombian biographical article is a stub (/wiki/Wikipedia:Stub) . You can help Wikipedia by expanding it (https://en.wikipedia.org/w/index.php?title=Alba_Galindo&action=edit) . v t e This biographical article about a model is a stub (/wiki/Wikipedia:Stub) . 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(Redirected from Early Germanic hairstyles (/w/index.php?title=Early_Germanic_hairstyles&redirect=no) ) Early culture of the Germanic peoples This article is about the early culture of Germanic peoples (/wiki/Germanic_peoples) . For related subjects, see Germanic culture (/wiki/Germanic_culture) . Royal mounds (/wiki/Mound) at Gamla Uppsala (/wiki/Gamla_Uppsala) in Sweden (/wiki/Sweden) , an important centre of early Germanic culture Area of the Nordic Bronze Age (/wiki/Nordic_Bronze_Age) culture, ca 1200 BC Early Germanic culture was the culture of the early Germanic peoples (/wiki/Germanic_peoples) . Largely derived from a synthesis of Proto-Indo-European (/wiki/Proto-Indo-European_society) and indigenous Northern European elements, the Germanic culture started to exist in the Jastorf culture (/wiki/Jastorf_culture) that developed out of the Nordic Bronze Age (/wiki/Nordic_Bronze_Age) . It came under significant external influence during the Migration Period (/wiki/Migration_Period) , particularly from ancient Rome (/wiki/Ancient_Rome) . The Germanic peoples eventually overwhelmed the Western Roman Empire (/wiki/Western_Roman_Empire) , which by the Middle Ages (/wiki/Middle_Ages) facilitated their conversion (/wiki/Christianisation_of_the_Germanic_peoples) from paganism (/wiki/Germanic_paganism) to Christianity (/wiki/Christianity) and the abandonment of their tribal way of life. Certain traces of early Germanic culture have survived among the Germanic peoples up to the present day. Languages [ edit ] Main article: Germanic languages (/wiki/Germanic_languages) Further information: Germanic substrate hypothesis (/wiki/Germanic_substrate_hypothesis) , Pre-Germanic (/wiki/Pre-Germanic_(disambiguation)) , and Proto-Germanic (/wiki/Proto-Germanic) Expansion of the early Germanic tribes into Central Europe (/wiki/Central_Europe) : [1] (#cite_note-1) Settlements before 750 BC New settlements by 500 BC New settlements by 250 BC New settlements by AD 1 One proposed theory for Germanic (/wiki/Germanic_languages) dialect groups and their approximate distribution in northern Europe around 1 CE: North Germanic (/wiki/North_Germanic_languages) North Sea Germanic (/wiki/North_Sea_Germanic) (Ingvaeonic) Weser–Rhine Germanic (/wiki/Weser%E2%80%93Rhine_Germanic) , (Istvaeonic) Elbe Germanic (/wiki/Elbe_Germanic) (Irminonic) East Germanic (/wiki/East_Germanic_languages) The approximate extent of Germanic languages in northern Europe in the early 10th century: Old West Norse (/wiki/Old_West_Norse) Old East Norse (/wiki/Old_East_Norse) Old Gutnish (/wiki/Old_Gutnish) Old English (/wiki/Old_English) Continental West Germanic (/wiki/West_Germanic_languages) ( Old Frisian (/wiki/Old_Frisian) , Old Saxon (/wiki/Old_Saxon) , Old Dutch (/wiki/Old_Dutch) , Old High German (/wiki/Old_High_German) ). Crimean Gothic (/wiki/Crimean_Gothic) ( East Germanic (/wiki/East_Germanic) ) Linguists postulate that an early Proto-Germanic (/wiki/Proto-Germanic) language existed and was distinguishable from the other Indo-European languages (/wiki/Indo-European_languages) as far back as 500 BCE. [2] (#cite_note-FOOTNOTEWaldmanMason2006300-2) From what is known, the early Germanic tribes may have spoken mutually intelligible (/wiki/Mutually_intelligible) dialects derived from a common parent language but there are no written records to verify this fact. The Germanic tribes moved and interacted over the next centuries, and separate dialects among Germanic languages (/wiki/Germanic_languages) developed down to the present day. [3] (#cite_note-FOOTNOTEDalby1999224–225-3) Some groups, such as the Suebi (/wiki/Suebi) , have a continuous recorded existence, and so there is a reasonable confidence that their modern dialects can be traced back to those in classical times. [4] (#cite_note-FOOTNOTERobinson1992194–195-4) By extension, but sometimes controversially, the names of the sons of Mannus (/wiki/Mannus) , Istvaeones (/wiki/Istvaeones) , Irminones (/wiki/Irminones) , and Ingvaeones (/wiki/Ingvaeones) , are sometimes used to divide up the medieval and modern West Germanic languages (/wiki/West_Germanic_languages) . [ citation needed ] The more easterly groups such as the Vandals (/wiki/Vandals) are thought to have been united in the use of East Germanic languages (/wiki/East_Germanic_languages) , the most famous of which is Gothic (/wiki/Gothic_language) . The dialect of the Germanic people who remained in Scandinavia (/wiki/Scandinavia) is not generally called Ingvaeonic (/wiki/Ingvaeonic) , but is classified as North Germanic (/wiki/North_Germanic_languages) , which developed into Old Norse (/wiki/Old_Norse) . Within the West Germanic group, linguists associate the Suebian or Hermionic group with an " Elbe Germanic (/wiki/Elbe_Germanic) " which developed into Upper German (/wiki/Upper_German) , including modern German. [5] (#cite_note-FOOTNOTEOstler2006304–314-5) More speculatively, given the lack of any such clear explanation in any classical source, modern linguists sometimes designate the Frankish language (/wiki/Frankish_language) (and its descendant Dutch (/wiki/Dutch_language) ) as Istvaeonic (/wiki/Istvaeonic) , although the geographical term " Weser–Rhine Germanic (/wiki/Weser%E2%80%93Rhine_Germanic) " is often preferred. However, the classical " Germani " near the Rhine, to whom the term was originally applied by Caesar, may not have even spoken Germanic languages, let alone a language recognizably ancestral to modern Dutch. [6] (#cite_note-FOOTNOTEWightman198512–14-6) The close relatives of Dutch, Low German (/wiki/Low_German) , English and Frisian (/wiki/Frisian_languages) , are sometimes designated as Ingvaeonic, or alternatively, " North Sea Germanic (/wiki/North_Sea_Germanic) ". Frankish, (and later Dutch, Luxembourgish (/wiki/Luxembourgish) and the Frankish dialects of German in Germany) has continuously been intelligible to some extent with both "Ingvaeonic" Low German, and some "Suebian" High German dialects, with which they form a spectrum of continental dialects. All these dialects or languages appear to have formed by the mixing of migrating peoples after the time of Julius Caesar (/wiki/Julius_Caesar) . So it is not clear if these medieval dialect divisions correspond to any mentioned by Tacitus (/wiki/Tacitus) and Pliny (/wiki/Pliny_the_Elder) . Indeed, in Tacitus (Tac. Ger. 40) [7] (#cite_note-FOOTNOTETacitus200958_[Ch._40]-7) and in Claudius Ptolemy (/wiki/Claudius_Ptolemy) 's Geography (/wiki/Geography_(Ptolemy)) , the Anglii (/wiki/Anglii) , ancestors of the Anglo-Saxons (/wiki/Anglo-Saxons) , are designated as being a Suebic tribe. [ citation needed ] Despite their common linguistic framework, by the 5th century CE, the Germanic peoples were linguistically differentiated and could no longer easily comprehend one another. [8] (#cite_note-FOOTNOTEMusset199312–13-8) Nonetheless, the line between Germanic and Romance peoples (/wiki/Romance_peoples) in central Europe remained at the western mouth of the Rhine (/wiki/Rhine) river and while Gaul (/wiki/Gaul) fell under Germanic domination and was firmly settled by the Franks (/wiki/Franks) , the linguistic patterns did not move much. Further west and south in Europe-proper, the linguistic presence of the Germanic languages is almost negligible. Despite the fact that the Visigoths (/wiki/Visigoths) ruled a kingdom (/wiki/Visigothic_Kingdom) in what is now Spain and Portugal (/wiki/Portugal) for upwards of 250 years, there are almost no recognizable Gothic words borrowed into Spanish or Portuguese (/wiki/Portuguese_language) . [9] (#cite_note-FOOTNOTEOstler2006307-9) Conversely, many common given names in the Iberian peninsula, and the surnames derived from them, are of Germanic origin (Álvaro – Álvarez; Fernando – Fernández/Hernández; Gonzalo – González; Rodrigo – Rodríguez, etc.). [10] (#cite_note-10) By 500 CE, the West Germanic speakers had apparently developed a distinct language continuum with extensive loaning from Latin (/wiki/Latin) (due to their ongoing contact with the Romans), whereas the East Germanic languages were dying out. [b] (#cite_note-12) [2] (#cite_note-FOOTNOTEWaldmanMason2006300-2) [11] (#cite_note-FOOTNOTEDalby1999225-13) [c] (#cite_note-14) Literature [ edit ] Further information: Saga (/wiki/Saga) , Old Norse poetry (/wiki/Old_Norse_poetry) , Edda (/wiki/Edda) , Skald (/wiki/Skald) , Old English literature (/wiki/Old_English_literature) , Scop (/wiki/Scop) , Beowulf (/wiki/Beowulf) , and Nibelungenlied (/wiki/Nibelungenlied) Excerpt from Njáls saga (/wiki/Nj%C3%A1ls_saga) in the Möðruvallabók (/wiki/M%C3%B6%C3%B0ruvallab%C3%B3k) (AM 132 folio 13r) c. 1350 Germanic literature includes all the oral and written literature which was common to the early Germanic peoples, in respect to form and nature of content. It was generally intended to honor the gods or to praise tribal ancestors. [12] (#cite_note-FOOTNOTEOwen1960225–262-15) The general public plays an insignificant role in Germanic literature, which revolves almost exclusively around chieftains, warriors and their associates. Wives and other female relatives of such leaders and warriors figure prominently in many pieces of Germanic literature. [12] (#cite_note-FOOTNOTEOwen1960225–262-15) Germanic literature is divided into literature transferred orally from generation to generation and literature written down at a later date. Some of this literature, such as the Grottasöngr (/wiki/Grottas%C3%B6ngr) , appears to have been passed down from a very early time. [12] (#cite_note-FOOTNOTEOwen1960225–262-15) Much of what is known about Germanic literature was passed down by skalds (/wiki/Skald) and scops (/wiki/Scop) , who were poets employed by a chieftain to memorize his deeds and those of his ancestors. Priscus (/wiki/Priscus) notes that such skalds were also prominent at the court of Attila (/wiki/Attila) . [12] (#cite_note-FOOTNOTEOwen1960225–262-15) The structure of the verse and the rime system shows that Germanic poetry followed a distinct poetic form. A significant characteristic is the alliterative verse (/wiki/Alliterative_verse) . [12] (#cite_note-FOOTNOTEOwen1960225–262-15) Riddles figure prominently in both Anglo-Saxon (/wiki/Anglo-Saxon_riddles) and early Scandianvian (/wiki/Riddles_(Scandinavian)) literature. [12] (#cite_note-FOOTNOTEOwen1960225–262-15) Important works are Germanic literature are Beowulf (/wiki/Beowulf) , the Nibelungenlied (/wiki/Nibelungenlied) , and the Icelandic Eddas (/wiki/Eddas) and sagas (/wiki/Saga) . [12] (#cite_note-FOOTNOTEOwen1960225–262-15) Powerful individuals of the distant past figure prominently in Germanic literature. Such individuals include Julius Caesar, Attila, Ermanaric (/wiki/Ermanaric) , Theodoric the Great (/wiki/Theodoric_the_Great) and Charlemagne (/wiki/Charlemagne) . Accounts of the history of the Goths play and important role in Germanic literature, and although the Goths themselves disappeared, their deeds were remembered for centuries afterwards among Germanic peoples living as far as Iceland (/wiki/Iceland) . [12] (#cite_note-FOOTNOTEOwen1960225–262-15) The works of Jordanes (/wiki/Jordanes) , Gregory of Tours (/wiki/Gregory_of_Tours) , Paul the Deacon (/wiki/Paul_the_Deacon) , Priscus and Saxo Grammaticus (/wiki/Saxo_Grammaticus) were written in Latin and Greek (/wiki/Greek_language) , but since their authors were of Germanic origin and because their works show traces of Germanic heritage, philologist Francis Owen (/wiki/Francis_Owen_(philologist)) considers these works part of Germanic literature as well. [12] (#cite_note-FOOTNOTEOwen1960225–262-15) A large amount of Germanic epic literature must have been produced during the violent years of the Migration Period (/wiki/Migration_Period) , but few of these accounts appear to have been preserved. [12] (#cite_note-FOOTNOTEOwen1960225–262-15) During his reign, Charlemagne ordered a collection of the old heroic songs to be made, but this collection was later destroyed by order of Louis the Pious (/wiki/Louis_the_Pious) . [12] (#cite_note-FOOTNOTEOwen1960225–262-15) A common theme in Germanic literature is the consequences of failing to live up to one's moral principles, and the moral dilemma faced by an individual struggling to maintain his loyalty under difficult conditions. A key theme is the attempt of the individual to overcome his fate, referred to as wyrd (/wiki/Wyrd) by the Anglo-Saxons. [12] (#cite_note-FOOTNOTEOwen1960225–262-15) In Germanic literature, dark humor (/wiki/Dark_humor) figures prominently. [13] (#cite_note-FOOTNOTEOwen1960153–166-16) Scripts [ edit ] Further information: Runes (/wiki/Runes) and Gothic alphabet (/wiki/Gothic_alphabet) An inscription using cipher runes (/wiki/Cipher_runes) , the Elder Futhark (/wiki/Elder_Futhark) , and the Younger Futhark (/wiki/Younger_Futhark) , on the 9th-century Rök runestone (/wiki/R%C3%B6k_runestone) in Sweden The earliest known Germanic inscription was found at Negau (/wiki/Negau_helmet) (in what is now southern Austria (/wiki/Austria) ) on a bronze helmet (/wiki/Negau_helmet) dating back to the first century BCE. [14] (#cite_note-FOOTNOTETodd200412–13-17) Some of the other earliest known physical records of the Germanic language appear on stone and wood carvings in Runic (/wiki/Runic) script from around 200 CE. [15] (#cite_note-FOOTNOTEDalby1999224-18) Runes had a special significance in early Germanic culture, and each runic letter had a distinct name associated with a particular subject. The origins of runes has been a source of controversy. [16] (#cite_note-FOOTNOTEOwen1960209–225-19) Runic writing likely disappeared due to the concerted opposition of the Christian Church (/wiki/Christian_Church) , which regarded runic text as heathen symbols which supposedly contained inherent magical properties that they associated with the Germanic peoples' pagan past. [17] (#cite_note-FOOTNOTEHalsall198115-20) Unfortunately, this primitive view ignores the abundance of "pious runic writing found on church-related objects" (ranging from inscriptions in the doorways of churches, on church bells and even those found on baptismal fonts) when Christianity was introduced (/wiki/Christianisation_of_the_Germanic_peoples) into the Germanic North. [18] (#cite_note-FOOTNOTEAntonsen200237-21) [d] (#cite_note-22) An important linguistic step was made by the Christian convert Ulfilas (/wiki/Ulfilas) , who became a bishop to the Thervingi (/wiki/Thervingi) Goths in CE 341; he subsequently invented a Gothic alphabet (/wiki/Gothic_alphabet) and translated the scriptures from Greek into Gothic, creating a Gothic Bible (/wiki/Gothic_Bible) , which is the earliest known translation of the Bible into a Germanic language. [19] (#cite_note-FOOTNOTEBauer201044-23) Religion [ edit ] Main article: Germanic paganism (/wiki/Germanic_paganism) Further information: Old Norse Religion (/wiki/Old_Norse_Religion) , Gothic paganism (/wiki/Gothic_paganism) , and Anglo-Saxon paganism (/wiki/Anglo-Saxon_paganism) Prior to the Middle Ages (/wiki/Middle_Ages) , Germanic peoples followed what is now referred to as Germanic paganism (/wiki/Germanic_paganism) : "a system of interlocking and closely interrelated religious worldviews and practices rather than as one indivisible religion" and as such consisted of "individual worshippers, family traditions and regional cults within a broadly consistent framework". [20] (#cite_note-FOOTNOTEEwing20089-24) The gilded side of the Trundholm Sun Chariot (/wiki/Trundholm_Sun_Chariot) , Nordic Bronze Age (/wiki/Nordic_Bronze_Age) Germanic religion was polytheistic (/wiki/Polytheism) in nature, with some underlying similarities to other European and Indo-European religions (/wiki/Proto-Indo-European_religion) . Despite the unique practices of some tribes, there was a degree of cultural uniformity among the Germanic peoples concerning religion. [21] (#cite_note-FOOTNOTEEliade1984154-25) [e] (#cite_note-28) From its earliest descriptions by Roman authors in antiquity to the Icelandic accounts written in the Middle Ages, Germanic religion appears to have changed considerably. [24] (#cite_note-FOOTNOTEOwen1960183–209-29) Origins [ edit ] Germanic religion appears to have emerged as a synthesis of the religion of the Indo-European speakers who arrived with the Corded Ware culture (/wiki/Corded_Ware_culture) and the indigenous populations among whom they settled. It is often suggested that the conflict (/wiki/%C3%86sir%E2%80%93Vanir_War) between the Æsir (/wiki/%C3%86sir) and Vanir (/wiki/Vanir) , the two groups in the Norse (/wiki/Norse_mythology) branch of the Germanic pantheon, represents a remembrance of this synthesis. [24] (#cite_note-FOOTNOTEOwen1960183–209-29) Deities [ edit ] Main articles: List of Germanic deities (/wiki/List_of_Germanic_deities) and Common Germanic deities (/wiki/Common_Germanic_deities) Many of the deities found in Germanic paganism (/wiki/List_of_Germanic_deities) appeared under similar names across the Germanic peoples, most notably the god known to the Germans as Wodan or Wōden, to the Anglo-Saxons as Woden, and to the Norse as Óðinn (/wiki/Odin) , as well as the god Thor (/wiki/Thor) – known to the Germans as Donar, to the Anglo-Saxons as Þunor and to the Norse as Þórr. [ citation needed ] Tacitus writes that the Germanic peoples primarily worshipped " Mercury (/wiki/Mercury_(mythology)) ", but also " Hercules (/wiki/Hercules) " and " Mars (/wiki/Mars_(mythology)) ". These have generally been identified with Odin, Thor and Týr (/wiki/T%C3%BDr) , the gods of wisdom, thunder and war respectively. Týr appears to at one point have been the chief deity in the Germanic pantheon, but he was eventually displaced by Odin. [24] (#cite_note-FOOTNOTEOwen1960183–209-29) Rituals [ edit ] Further information: Temple at Uppsala (/wiki/Temple_at_Uppsala) , Sacred trees and groves in Germanic paganism and mythology (/wiki/Sacred_trees_and_groves_in_Germanic_paganism_and_mythology) , Heathen hof (/wiki/Heathen_hof) , Blót (/wiki/Bl%C3%B3t) , Galdr (/wiki/Galdr) , Hallow (/wiki/Hallow) , Seiðr (/wiki/Sei%C3%B0r) , Symbel (/wiki/Symbel) , Hörgr (/wiki/H%C3%B6rgr) , Trollkyrka (/wiki/Trollkyrka) , Uppåkra temple (/wiki/Upp%C3%A5kra_temple) , and Vé (shrine) (/wiki/V%C3%A9_(shrine)) Stone slab from The King's Grave (/wiki/The_King%27s_Grave) in southern Sweden, Nordic Bronze Age (/wiki/Nordic_Bronze_Age) , 1400 BC Archaeological findings suggest that the early Germanic peoples practiced some of the same 'spiritual' rituals as the Celts (/wiki/Celts) , including human sacrifice (/wiki/Human_sacrifice) , divination, and the belief in spiritual connection with the natural environment around them. [25] (#cite_note-FOOTNOTEBurns2003367-30) In Germanic religion, one distinguishes between household worship and community worship. This was similar to religious worship in Roman religion (/wiki/Roman_religion) . In household worship the male head of the household would act as the "priest". [24] (#cite_note-FOOTNOTEOwen1960183–209-29) Spiritual rituals frequently occurred in consecrated groves or upon islands on lakes where perpetual fires burned. [26] (#cite_note-FOOTNOTEWilliams199882-31) The Germanic peoples did not construct temples to carry out their religious rites. [24] (#cite_note-FOOTNOTEOwen1960183–209-29) Priests [ edit ] Further information: Gothi (/wiki/Gothi) and Veleda (/wiki/Veleda) Unlike the Celts, who had their druids (/wiki/Druid) , there does not appear to have been a priestly caste among the Germanic peoples. There were however individuals who performed certain religious duties. This included carrying out sacrifices and punishing those found guilty of crimes against the tribe. [24] (#cite_note-FOOTNOTEOwen1960183–209-29) Germanic priestesses were feared by the Romans, as these tall women with glaring eyes, wearing flowing white gowns often wielded a knife for sacrificial offerings. Captives might have their throats cut and be bled into giant cauldrons or have their intestines opened up and the entrails thrown to the ground for prophetic readings. [27] (#cite_note-FOOTNOTEWilliams199881–82-32) [24] (#cite_note-FOOTNOTEOwen1960183–209-29) Afterlife [ edit ] Main articles: Valhalla (/wiki/Valhalla) , Fólkvangr (/wiki/F%C3%B3lkvangr) , and Einherjar (/wiki/Einherjar) Germanic ideology and religious practices were pervaded and colored to a large degree by war, particularly the notion of a heroic death on the battlefield, as this brought the god(s) a "blood sacrifice." [28] (#cite_note-FOOTNOTEEliade1984161-33) [f] (#cite_note-34) Conversion to Christianity [ edit ] Main article: Christianisation of the Germanic peoples (/wiki/Christianisation_of_the_Germanic_peoples) Further information: Gothic Christianity (/wiki/Gothic_Christianity) , Gothic Bible (/wiki/Gothic_Bible) , Christianisation of Anglo-Saxon England (/wiki/Christianisation_of_Anglo-Saxon_England) , and Christianization of Scandinavia (/wiki/Christianization_of_Scandinavia) Christianity had no relevance for the pagan barbarians until their contact and integration with Rome. [29] (#cite_note-FOOTNOTEBurns2003368-35) Pagan beliefs amid the Germanic tribes were reported by some of the earlier Roman historians and in the 6th century CE another instance of this appears when the Byzantine historian and poet, Agathias (/wiki/Agathias) , remarked that the Alemannic (/wiki/Alemanni) religion was "solidly and unsophisticatedly pagan." [30] (#cite_note-FOOTNOTEDrinkwater2007117-36) The Ostrogoths (/wiki/Ostrogoths) , Visigoths, and Vandals were Christianized while they were still outside the bounds of the Empire; however, they converted to Arianism (/wiki/Arianism) rather than Roman Catholicism (/wiki/Roman_Catholicism) , and were soon regarded as heretics (/wiki/Christian_heresy) by Catholics. [31] (#cite_note-FOOTNOTESantosuo200414–16-37) The one great written remnant of the Gothic language is the Gothic Bible made by Wulfila, the Arian missionary (/wiki/Missionary) who converted them. [32] (#cite_note-FOOTNOTEWaldmanMason2006327-38) Goths, Vandals, and other Germanic peoples often offered political resistance prior to their conversion to Christianity. [33] (#cite_note-FOOTNOTECameron199797-39) The Lombards (/wiki/Lombards) were not converted until after their entrance into the Empire, but received Christianity from Arian Germanic tribes sometime during the 5th century. [34] (#cite_note-FOOTNOTEWaldmanMason2006497-40) The Franks were converted directly from paganism to Catholicism under the leadership of Clovis I (/wiki/Clovis_I) in about CE 496 without an intervening time as Arians. [35] (#cite_note-FOOTNOTEGermanic_peoples,_''Encyclopædia_Britannica_Online''-41) The Visigoths converted to Roman Catholicism in 589 AD. [36] (#cite_note-FOOTNOTEPohl199737-42) Several centuries later, Anglo-Saxon and Frankish missionaries and warriors undertook the conversion of their Saxon (/wiki/Saxons) neighbors. A key event was the felling of Thor's Oak (/wiki/Thor%27s_Oak) near Fritzlar (/wiki/Fritzlar) by Boniface (/wiki/Boniface) , apostle of the Germans (/wiki/Germans) , in CE 723. When Thor failed to strike Boniface dead after the oak hit the ground, the Franks were amazed and began their conversion to the Christian faith. [g] (#cite_note-43) Eventually for many Germanic tribes, the conversion to Christianity was achieved by armed force, successfully completed by Charlemagne, in a series of campaigns (the Saxon Wars (/wiki/Saxon_Wars) ), that also brought Saxon lands into the Frankish empire (/wiki/Frankish_empire) . [37] (#cite_note-FOOTNOTEMcKitterick2008103–106-44) Massacres, such as at Verden (/wiki/Massacre_of_Verden) , where as many as 4,500 people were beheaded according to one of Charlemagne's chroniclers, were a direct result of this policy. [38] (#cite_note-FOOTNOTEWilson200547-45) In Scandinavia, Germanic paganism continued to dominate until the 11th century in the form of Old Norse religion (/wiki/Old_Norse_religion) , when it was gradually replaced by Christianity. [39] (#cite_note-FOOTNOTEKendrick2013118–123-46) While the Germanic peoples were slowly converted to Christianity by varying means, many elements of the pre-Christian culture and indigenous beliefs remained firmly in place after the conversion process, particularly in the more rural and distant regions. Of particular note is the survival of the pagan fascination with the forest in the retention of Christmas tree (/wiki/Christmas_tree) even today. Many of the Germanic tribes actually revered forests as sacred places and left them unmolested. Conversion to Christianity broke this pagan obsession with protecting the forest in some locations and allowed once migrant tribes to settle in places where they previously refused to cultivate the soil or chop down trees based on religious belief. To that end, the Christianisation of Germanic peoples facilitated the clearing of forests and therewith provided "a broad and stable basis for the medieval economy of Central Europe" by leveraging the vast forest resources available to them. [40] (#cite_note-FOOTNOTEPrice1965368–378-47) Heathenism [ edit ] Main article: Germanic paganism (/wiki/Germanic_paganism) Elements of Germanic paganism survived into post-Christianization folklore (/wiki/Folklore) , and today new religious movements (/wiki/New_religious_movement) exist which see themselves as modern revivals of Germanic Heathenry (/wiki/Heathenry_(new_religious_movement)) . Folklore [ edit ] Main article: Germanic folklore (/wiki/Germanic_folklore) The folklore (/wiki/Germanic_folklore) of early Germanic peoples was intimately intertwined with their natural surroundings. Legendary creatures of Germanic folklore include elves (/wiki/Elves) , who inhabited the woods, foundations and streams; dwarves (/wiki/Dwarf_(mythology)) , who inhabited the caves of the earth; serpents (/wiki/Sea_serpent) , who inhabited the sea; and the neck (/wiki/Neck_(water_spirit)) , who inhabited the marshes. [24] (#cite_note-FOOTNOTEOwen1960183–209-29) Remnants of early Germanic folklore has survived unto the present day. [24] (#cite_note-FOOTNOTEOwen1960183–209-29) Festivals [ edit ] Festivals in early Germanic culture included the autumn festival ( Winter Nights (/wiki/Winter_Nights) ), the New Year festival ( Yule (/wiki/Yule) ), the spring festival ( Easter (/wiki/%C4%92ostre) ), and Midsummer's Day (/wiki/Midsummer) . [24] (#cite_note-FOOTNOTEOwen1960183–209-29) Yule was intended to induce the sun (/wiki/Sun) to regain its former strength. Easter celebrated the renewal of nature. The Midsummer's Day was the greatest festival of all, in which it was celebrated that the sun had regained its full power. On this occasion numerous tribes would come together to celebrate and a general peace would sometimes be declared. Meanwhile, the autumn festival was a period of mourning. [24] (#cite_note-FOOTNOTEOwen1960183–209-29) Calendar [ edit ] Main article: Early Germanic calendar (/wiki/Early_Germanic_calendar) The early Germanic calendars were the regional calendars (/wiki/Calendar) used among the early Germanic peoples (/wiki/Germanic_peoples) before they adopted the Julian calendar (/wiki/Julian_calendar) in the Early Middle Ages (/wiki/Early_Middle_Ages) . The calendars were an element of early Germanic culture. The Germanic peoples had names for the months that varied by region and dialect, but they were later replaced with local adaptations of the Julian (/wiki/Julian_calendar) month names. Records of Old English (/wiki/Old_English) and Old High German (/wiki/Old_High_German) month names date to the 8th and 9th centuries, respectively. Old Norse (/wiki/Old_Norse) month names are attested from the 13th century. As with most pre-modern calendars, the reckoning used in early Germanic culture (/wiki/Germanic_peoples) was likely lunisolar (/wiki/Lunisolar_calendar) . As an example, the Runic calendar (/wiki/Runic_calendar) developed in medieval Sweden (/wiki/Medieval_Sweden) was lunisolar, fixing the beginning of the year at the first full moon (/wiki/Full_moon) after winter solstice (/wiki/Winter_solstice) . Funerary practices [ edit ] Further information: Norse funeral (/wiki/Norse_funeral) and Sutton Hoo (/wiki/Sutton_Hoo) See also: Ship burial (/wiki/Ship_burial) and Horse burial (/wiki/Horse_burial) The Håga mound (/wiki/H%C3%A5ga_mound) at Uppsala (/wiki/Uppsala) , Sweden is from the Nordic Bronze Age (/wiki/Nordic_Bronze_Age) . In Neolithic Northern Europe, the deceased were generally buried by inhumation. [41] (#cite_note-FOOTNOTEOwen1960178–179-48) By the early Bronze Age, cremation became more frequent, and eventually universal. The deceased was generally burnt at a funeral pyre (/wiki/Pyre) , while his weapons and other possessions were placed in an urn for burial. Leading members of the community were sometimes buried in burial mounds (/wiki/Burial_mound) . During the Pre-Roman Iron Age (/wiki/Pre-Roman_Iron_Age) , the possessions of the deceased was sometimes placed in a hollowed-out grave without an urn. During the Roman period, urns were typically placed in flat graves. [41] (#cite_note-FOOTNOTEOwen1960178–179-48) The deceased was buried along with his possessions so that he could bring them to the afterlife. Such possessions included weapons, personal adornments and other belongings, sometimes including the owner's horse (/wiki/Horse_burial) and even his boat (/wiki/Ship_burial) . In certain rare cases the deceased was even buried along with several of his servants, who would be slain for the purpose. [41] (#cite_note-FOOTNOTEOwen1960178–179-48) Tacitus reports that certain Germanic individuals were inhumated in mound graves. Archaeological evidence does not suggest that this was a common practice. [41] (#cite_note-FOOTNOTEOwen1960178–179-48) Cremation appears to have been much more common and long lasting in Scandinavia than in other Germanic territories. [41] (#cite_note-FOOTNOTEOwen1960178–179-48) Among the coastal and island peoples of the north, the deceased was often placed with all his possessions in his boat, and then set on fire. Boat burials remained common in later times, even when inhumation was reintroduced. In such burials, the body was often placed in a boat over which a burial mound was erected. [41] (#cite_note-FOOTNOTEOwen1960178–179-48) Inhumation became common again during the Migration period. Since such graves were often arranged in long rows, they have been called row-graves. They are not distinguished by mounds. Often they were arranged on either side of a high-way. This was a practice that had survived from Neolithic times. [41] (#cite_note-FOOTNOTEOwen1960178–179-48) Symbols [ edit ] This Thor (/wiki/Thor) 's hammer in silver with filigree ornamentation was found in Scania (/wiki/Scania) . It was donated to the Swedish History Museum (/wiki/Swedish_History_Museum) in 1895. See also: Sun cross (/wiki/Sun_cross) , Swastika (Germanic Iron Age) (/wiki/Swastika_(Germanic_Iron_Age)) , Valknut (/wiki/Valknut) , Raven banner (/wiki/Raven_banner) , Mjölnir (/wiki/Mj%C3%B6lnir) , Dragon's Eye (symbol) (/wiki/Dragon%27s_Eye_(symbol)) , Triquetra (/wiki/Triquetra) , and Triskelion (/wiki/Triskelion) There were many symbols of importance in early Germanic culture, including the sun cross (/wiki/Sun_cross) and the swastika (/wiki/Swastika_(Germanic_Iron_Age)) . Such symbols are attested from the Nordic Bronze Age (/wiki/Nordic_Bronze_Age) up to the Viking Age (/wiki/Viking_Age) . [24] (#cite_note-FOOTNOTEOwen1960183–209-29) Patterns of thought [ edit ] Further information: Old Norse philosophy (/wiki/Old_Norse_philosophy) See also: Nine Noble Virtues (/wiki/Nine_Noble_Virtues) and Prussian virtues (/wiki/Prussian_virtues) Early Germanic society was characterized by a rigorous code of ethics (/wiki/Code_of_ethics) , which above all valued trust, loyalty and courage. [h] (#cite_note-50) The attainment of honor, fame and recognition was a primary ambition. Independence and individuality was highly emphasized. This emphasis largely prevented the emergence of a unified Germanic state. The environment in which the Germanic peoples emerged, notably their attachment to the forest and the sea, played a major role in shaping such values. Germanic literature is filled with scorn for characters who failed to live the Germanic ideals. [13] (#cite_note-FOOTNOTEOwen1960153–166-16) Although Germanic society was highly stratified between leaders, freemen and slaves, their culture still emphasized equality. On occasion, the freemen of the tribe would overrule the decisions of their own leaders. [13] (#cite_note-FOOTNOTEOwen1960153–166-16) Law [ edit ] Þorgnýr the Lawspeaker (/wiki/%C3%9Eorgn%C3%BDr_the_Lawspeaker) showing the power of his office to the King of Sweden at Gamla Uppsala (/wiki/Gamla_Uppsala) , 1018. The lawspeaker forced King Olof Skötkonung (/wiki/Olof_Sk%C3%B6tkonung) not only to accept peace with his enemy, King Olaf the Stout (/wiki/Olaf_II_of_Norway) of Norway, but also to give his daughter to him in marriage. Illustration by C. Krogh. Main article: Germanic law (/wiki/Germanic_law) See also: Mund (law) (/wiki/Mund_(law)) Common elements of Germanic society can be deduced both from Roman historiography (/wiki/Roman_historiography) and comparative evidence from the Early Medieval (/wiki/Early_Medieval) period. [43] (#cite_note-FOOTNOTEGermanic_law,_''Encyclopædia_Britannica_Online''-51) Kingship [ edit ] Main article: Germanic king (/wiki/Germanic_king) Further information: Reiks (/wiki/Reiks) and Kindins (/wiki/Kindins) A main element uniting Germanic societies was kingship (/wiki/Germanic_king) , in origin a sacral institution (/wiki/Sacral_king) combining the functions of military leader, high priest, lawmaker and judge. Germanic monarchy was elective (/wiki/Elective_monarchy) ; the king was elected by the free men from among eligible candidates of a family ( OE (/wiki/Old_English) cynn ) tracing their ancestry to the tribe's divine or semi-divine founder. Under the influence of the Roman Empire (/wiki/Roman_Empire) , the power of Germanic kings over their own people increased throughout the centuries, partially because mass-migrations of the time required more stern leadership. [13] (#cite_note-FOOTNOTEOwen1960153–166-16) Caesar notes that in wartime, Germanic tribes would select a "magistrate" with supreme authority to wage war. Those who refused to follow him were considered traitors, and were subjected to social isolation: When a nation either defends itself in war or wages it, magistrates are selected to be in charge of the war with power of life and death... Those unwilling to follow are thought as deserters and traitors and are no longer trusted in anything. [i] (#cite_note-53) Assemblies [ edit ] Germanic thing (/wiki/Thing_(assembly)) , drawn after the depiction in a relief of the Column of Marcus Aurelius (/wiki/Column_of_Marcus_Aurelius) (193 CE (/wiki/Common_Era) ) Main article: Thing (assembly) (/wiki/Thing_(assembly)) All freemen had the right to participate in general assemblies or things (/wiki/Thing_(assembly)) , where disputes between freemen were addressed according to customary law. [ citation needed ] In the federalist (/wiki/Federalism) organization of Switzerland (/wiki/Switzerland) , where cantonal (/wiki/Cantons_of_Switzerland) structures remained comparatively local, the Germanic thing survived into the 21st century in the form of the Landsgemeinde (/wiki/Landsgemeinde) , albeit subject to federal law. [ citation needed ] Legal codes [ edit ] The king was bound to uphold ancestral law, but was at the same time the source for new laws for cases not addressed in previous tradition. This aspect was the reason for the creation of the various Germanic law codes by the kings following their conversion to Christianity (/wiki/Christianization_of_the_Germanic_peoples) : besides recording inherited tribal law, these codes have the purpose of settling the position of the church and Christian clergy within society, usually setting the weregilds (/wiki/Weregild) of the members of the clerical hierarchy parallel to that of the existing hierarchy of nobility, with the position of an archbishop (/wiki/Archbishop) mirroring that of the king. [ citation needed ] Generally speaking, Roman legal codes eventually provided the model for many Germanic laws and they were fixed in writing along with Germanic legal customs. [45] (#cite_note-FOOTNOTEWolfram1997310-54) Traditional Germanic society was gradually replaced by the system of estates (/wiki/Estates_of_the_realm) and feudalism (/wiki/Feudalism) characteristic of the High Middle Ages (/wiki/High_Middle_Ages) in both the Holy Roman Empire (/wiki/Holy_Roman_Empire) and Anglo-Norman (/wiki/Anglo-Norman_England) England in the 11th to 12th centuries, to some extent under the influence of Roman law (/wiki/Roman_law) as an indirect result of Christianisation, but also because political structures had grown too large for the flat hierarchy of a tribal society (/wiki/Tribal_society) . [ citation needed ] The same effect of political centralization took hold in Scandinavia slightly later, in the 12th to 13th century ( Age of the Sturlungs (/wiki/Age_of_the_Sturlungs) , Consolidation of Sweden (/wiki/Consolidation_of_Sweden) , Civil war era in Norway (/wiki/Civil_war_era_in_Norway) ), by the end of the 14th century culminating in the giant Kalmar Union (/wiki/Kalmar_Union) . [ citation needed ] Egill Skallagrímsson (/wiki/Egill_Skallagr%C3%ADmsson) engaging in holmgang (/wiki/Holmgang) with Berg-Önundr, painting by Johannes Flintoe (/wiki/Johannes_Flintoe) Elements of tribal law, notably the wager of battle (/wiki/Trial_by_combat) , remained in effect throughout the Middle Ages, in the case of the Holy Roman Empire until the establishment of the Imperial Chamber Court (/wiki/Imperial_Chamber_Court) in the early German Renaissance (/wiki/German_Renaissance) . Determining guilt [ edit ] Further information: Holmgang (/wiki/Holmgang) In the case of a suspected crime, the accused could avoid punishment by presenting a fixed number of free men (their number depending on the severity of the crime) prepared to swear an oath (/wiki/Oath) on his innocence. Failing in having witness testify in his favor, an accused man could prove his innocence in a trial. Such trials often the outcome when numerous individuals would swear oaths both in support and opposition of the defendant. Trials were typically either a trial by ordeal (/wiki/Trial_by_ordeal) or a trial by combat (/wiki/Trial_by_combat) . Common ordeals include trial by water (/wiki/Trial_by_ordeal) and trial by fire (/wiki/Trial_by_ordeal) . [46] (#cite_note-FOOTNOTEOwen1960147–150-55) If someone was accused of crimes against the community itself, the determining of guilt or innocence was generally left to the priests. [46] (#cite_note-FOOTNOTEOwen1960147–150-55) Punishment [ edit ] Further information: Bog body (/wiki/Bog_body) The Tollund Man (/wiki/Tollund_Man) of the 4th century BCE is one of the best studied examples of a bog body (/wiki/Bog_body) . Such bodies are often the remains of Germanic individuals subjected to capital punishment. Capital crimes in early Germanic culture included treason, cowardice in battle, desertion, assassination, degenerate magical practices and robbery. [46] (#cite_note-FOOTNOTEOwen1960147–150-55) Tacitus notes that traitors were on occasion hanged in trees, while cowards were disposed of by drowning them in swamps: "Traitors and deserters are hanged on trees. Cowards, those who will not fight, and those who have defiled their bodies, are plunged into a boggy mire, with a wicker hurdle pressed on top of them." [47] (#cite_note-FOOTNOTETacitus200943_[Ch._12]-56) Hanging was considered an offering to the gods, while the drowning in swamps was more of a symbolic act, intended to completely remove the criminal from contact with the living. Some bog bodies (/wiki/Bog_body) appear to have been bound, and it is possible that they were buried alive. [46] (#cite_note-FOOTNOTEOwen1960147–150-55) Corporal or capital punishment for free men does not figure prominently in the Germanic law codes, and banishment (/wiki/Banishment) appears generally to be the most severe penalty issued officially. This reflects that Germanic tribal law did not have the scope of exacting revenge (/wiki/Blood_feud) , which was left to the judgement of the family of the victim, but to settle damages as fairly as possible once an involved party decided to bring a dispute before the assembly. [ citation needed ] Weregild [ edit ] Main article: Weregild (/wiki/Weregild) Early Germanic law reflects a hierarchy of worth within the society of free men, reflected in the differences in weregild (/wiki/Weregild) . The weregild was instituted as a way to prevent the blood feuds (/wiki/Blood_feud) . It was a sum of money which was to be paid to the injured party as compensation for damage to person or property. [46] (#cite_note-FOOTNOTEOwen1960147–150-55) The amount of weregild to be paid depended upon the damage done and the position of the persons involved. It was generally regulated by the tribal assembly. [46] (#cite_note-FOOTNOTEOwen1960147–150-55) A fascinating component of early Germanic laws were the varying distinctions concerning the physical body, as each body part had a personal injury value and corresponding legal claims for personal injury viewed matters like gender, rank and status as a secondary interest when deliberating cases. [48] (#cite_note-FOOTNOTEOliver2011203–226-57) Among the Anglo-Saxons, a regular free man (a ceorl (/wiki/Churl) ) had a weregild of 200 shillings (/wiki/Shilling) (i.e. solidi (/wiki/Solidus_(coin)) or gold pieces), classified as a twyhyndeman "200-man" for this reason, while a nobleman commanded a fee of six times that amount ( twelfhyndeman "1200-man"). [ citation needed ] Among the Alemanni the basic weregild for a free man was 200 shillings, and the amount could be doubled or tripled according to the man's rank. Unfree serfs (/wiki/Serf) did not command a weregild, and the recompense paid in the event of their death was merely for material damage, 15 shillings in the case of the Alamanni, increased to 40 or 50 if the victim had been a skilled artisan. [ citation needed ] The social hierarchy is not only reflected in the weregild due in the case of the violent or accidental death of a man, but also in differences in fines for lesser crimes. Thus the fines for insults, injury, burglary or damage to property differ depending on the rank of the injured party. [ citation needed ] [j] (#cite_note-58) They do not usually depend on the rank of the guilty party, although there are some exceptions associated with royal privilege. [k] (#cite_note-59) Free women did not have a political station of their own but inherited the rank of their father if unmarried, or their husband if married. [ citation needed ] The weregild or recompense due for the killing or injuring of a woman is notably set at twice that of a man of the same rank in Alemannic law (/wiki/Lex_Alamannorum) . [ citation needed ] Property [ edit ] Caesar writes that Germanic peoples did not own private property, but that land was the property of the entire tribe, and was distributed by the tribal leaders to be occupied for a specified amount of time. Such measures were intended to prevent members of the tribe from becoming settled agriculturalists, and to prevent wealth concentration, which could become a source of instability. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) To a large degree, many of the extant legal records from the Germanic tribes seem to revolve around property transactions. [50] (#cite_note-FOOTNOTEOliver201127-61) In early Germanic society, the free men of property each ruled their own estate (/wiki/Estate_(house)) and were subject to the king directly, without any intermediate hierarchy as in later feudalism (/wiki/Feudalism) . Free men without landed property could swear fealty (/wiki/Oath) to a man of property who as their lord would then be responsible for their upkeep, including generous feasts (/wiki/Symbel) and gifts. This system of sworn retainers was central to early Germanic society, and the loyalty of the retainer to his lord generally replaced his family ties. [ citation needed ] Warfare [ edit ] The 3rd-century Great Ludovisi sarcophagus (/wiki/Great_Ludovisi_sarcophagus) depicts a battle between Goths (/wiki/Goths) and Romans (/wiki/Roman_army) . Main article: Early Germanic warfare (/wiki/Early_Germanic_warfare) Although the arrival of the Corded Ware culture in Northern Europe in the 3rd millennium BC must have been accompanied by widespread conflict, Germanic society during the Nordic Bronze Age of the 2nd millennium BC appears to have been largely peaceful. With the introduction of iron to Northern Europe however, Germanic society became heavily characterized by war. [51] (#cite_note-FOOTNOTEOwen1960119–133-62) Germanic weapons were usually spears, javelins, shields and sometimes broad slashing swords, known as Spathae to the Romans. Shields were round, oval or hexagonal, often painted with tribal or clan symbols. Body armour and helmets were rare, being reserved for chiefs and their inner circle of warriors, many Germanic warriors often fought naked. [52] (#cite_note-63) "Even iron is not plentiful with them, as we infer from the character of their weapons. But few use swords or long lances. They carry a spear [hasta] (framea is their name for it), with a narrow and short head, but so sharp and easy to wield that the same weapon serves, according to circumstances, for close or distant conflict. As for the horse-soldier, he is satisfied with a shield and spear; the foot-soldiers also scatter showers of javelins each man having several and hurling them to an immense distance, and being naked or lightly clad with a little cloak." -Tacitus, Germania Germanic warfare largely emphasized offensive infantry warfare. Armies would typically attack in a wedge formation, with chieftains leading from the front fighting side by side with their immediate family members. Germanic warriors would eventually also excel at horse-powered warfare and naval warfare. Fortifications were rarely used, and as a result, there was little use for siege equipment. [51] (#cite_note-FOOTNOTEOwen1960119–133-62) Raids by small war bands led by a charismatic leader, a so-called comitatus (/wiki/Comitatus) , was a common occurrence. Military training was started from an early age. During the time of the Roman Empire (/wiki/Roman_Empire) , large number of Germanic mercenaries served in the Roman army (/wiki/Roman_army) , some even gaining prominent positions. Early Germanic peoples believed that heroic death in battle would enable a warrior admittance to Valhalla, a majestic hall presided over by Odin, chief of the Germanic pantheon. [51] (#cite_note-FOOTNOTEOwen1960119–133-62) In times of distress, a Germanic tribe would on occasion embark on a wholesale mass-migration, in which the entire able-bodied population became engaged in war. In a series of Germanic Wars (/wiki/Germanic_Wars) , invading Germanic peoples overwhelmed the Western Roman Empire (/wiki/Western_Roman_Empire) and established themselves as the foremost military powers of Western Europe in its place. [51] (#cite_note-FOOTNOTEOwen1960119–133-62) Economy [ edit ] Further information: Félag (/wiki/F%C3%A9lag) Agriculture [ edit ] Germanic agriculture emphasized cereal production and animal husbandry (/wiki/Animal_husbandry) . This depended on the nature of the area. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) Cereals produced by Germanic agriculturalists was normally used for home consumption, rather than being sold or exported. Cattle hides was however an important export for Germanic merchants. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) History [ edit ] Traces of the earliest pastoralism of the Germanic peoples appear in central Europe in the form of elaborate cattle burials along the Elbe and Vistula Rivers from around 4000–3000 BCE. [53] (#cite_note-FOOTNOTEWaldmanMason2006312-64) These archaeological remnants were left by the Globular Amphora culture (/wiki/Globular_Amphora_culture) who cleared forests for herding cattle and sometime after 3000 BCE began using wheeled carts and plows to cultivate their lands. Central to survival for their assistance in tilling the soil and supplying food, cattle became an economic resource to these early people. [54] (#cite_note-FOOTNOTEWaldmanMason2006313-65) The Funnelbeaker culture (/wiki/Funnelbeaker_culture) and Corded Ware culture and (circa. 2900–2300 BCE) coincide one another and provide evidence of how the ancestors of the Germanic peoples lived. [55] (#cite_note-FOOTNOTEWaldmanMason2006313–314-66) Roman descriptions [ edit ] Caesar writes that the Germanic tribes were not agricultural people, and that tribal leaders instituted active measures to prevent members of the tribe from becoming settled agriculturalists. Archaeological research has however discovered that this observation by Caesar is not entirely correct. Agriculture was and had been for a long time a key component in Germanic life. Caesar's observations were made from warlike tribes on the move near the Roman borders, and are thus not representative of all the Germanic peoples. That agriculture was an important part of Germanic life is attested by Caesar, when he writes that the Usipetes (/wiki/Usipetes) and Tencteri (/wiki/Tencteri) had been forced to migrate from their lands after the Suebi had sabotaged their crops. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) Tacitus writes that the Germanic peoples were more of a pastoral people than an agricultural people. Wealth was in a large part measured by the amount of cattle owned. He noted that Germanic cattle was of smaller size than Roman cattle. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) Crop raising [ edit ] The chief cereal grains produced were wheat and barley (/wiki/Barley) . In later times oats (/wiki/Oat) and rye (/wiki/Rye) were also cultivated. Garden products such as beans (/wiki/Beans) , beets (/wiki/Beets) , peas (/wiki/Peas) and turnips (/wiki/Turnips) were well known. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) Evidence from a Saxon village known as Feddersen Wierde (/wiki/Feddersen_Wierde) near Cuxhaven (/wiki/Cuxhaven) , Germany (which existed between BCE 50 to CE 450) shows that the Germanic peoples cultivated oats (/wiki/Oat) and rye, used manure (/wiki/Manure) as fertilizer, and that they practiced crop rotation (/wiki/Crop_rotation) . [56] (#cite_note-FOOTNOTEOsborne200839-67) Husbandry [ edit ] Germanic agriculturalists primarily emphasized the raising of cattle, but goats, pigs (/wiki/Domestic_pigs) , horses and sheep also played an important role. This had been the case since at least the early Bronze Age. There were plenty of chickens, ducks and geese (/wiki/Geese) in Germanic farmyards. A Germanic farm was typically inhabited by a large number of dogs. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) Germanic farmers harvested wool (/wiki/Wool) from their sheep, and used it for clothing. Oxen (/wiki/Oxen) were used to plow the fields and for drawing wagons. This was the main means of transport. Horses were used for riding, ans also later as a draft animal. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) In areas along the North Sea (/wiki/North_Sea) coast, cattle raising appears to have been prevalent. This was because the high probability of flooding made agriculture risky. Similarly, in mountainous areas with good pasture but poor soil, husbandry was prevalent. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) Agricultural settlements [ edit ] Archaeological research has uncovered two forms of Germanic agricultural settlements. There were the farm village and the individual farm. The prevalence of either of these forms of settlements depended upon the nature of the land. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) The prevalence of the individual farm among Germanic peoples has sometimes been ascribed to their love of independence. Such individual farms depended upon a plentiful supply of water. Areas with poor soil or where the area was broken up by hills also encouraged the prevalence of individual farms. In the Icelandic sagas only individual farms are mentioned, and this also appears to have been the case in Norway, from where most of the Icelanders (/wiki/Icelanders) came. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) The establishment of agricultural villages was more common in areas with rich soil or a poor water supply. Such settlements were typically grouped around a common water supply. Such settlements required a more sophisticated form or communal organization. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) Equipment [ edit ] The plough (/wiki/Plough) was the most important form of agricultural equipment for the early Germanic peoples, who had abandoned the hoe (/wiki/Hoe_(tool)) in Neolithic times. The Germanic words for plough are of distinct Indo-European origin. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) The plough was typically drawn by oxen, as shown in Bronze Age rock carvings. The wheel plough was eventually introduced to them from the south. It significantly improved the efficiency of Germanic agriculture. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) The Germanic tribes appear to have been the first peoples to use the heavy plough (/wiki/Heavy_plough) , which enabled them to farm the rough forested lowlands of Northern Europe. In this respect their technology was superior to that of the Romans. [l] (#cite_note-69) The Germanic word for harrow (/wiki/Harrow_(tool)) is of Indo-European origin, indicating that this tool was introduced at an early time. The sickle (/wiki/Sickle) was used for the reaping of grain, while the ancient practice of beating out grain with sticks or tramping it out remained prevalent for a long time. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) Iron Age oak boat discovered at Nydam Mose (/wiki/Nydam_Mose) in Sønderborg (/wiki/S%C3%B8nderborg) , Denmark. The fields were tilled with a light-weight wooden ard (/wiki/Ard_(plough)) , although heavier models also existed in some areas. [ citation needed ] Fishing [ edit ] Among Germanic peoples living along the coasts, fishing was an important business. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) Hunting [ edit ] This section is empty. You can help by adding to it (https://en.wikipedia.org/w/index.php?title=Early_Germanic_culture&action=edit&section=) . ( December 2019 ) Trade [ edit ] The Amber Road (/wiki/Amber_Road) from the Baltic Sea (/wiki/Baltic_Sea) to Rome (/wiki/Rome) Further information: Amber Road (/wiki/Amber_Road) , Trade during the Viking Age (/wiki/Trade_during_the_Viking_Age) , Trade route from the Varangians to the Greeks (/wiki/Trade_route_from_the_Varangians_to_the_Greeks) , and Volga trade route (/wiki/Volga_trade_route) The presence of amber in Mycenaean (/wiki/Mycenaean_Greece) graves, and the presence of Italian bronze daggers in Northern European graves, attest to trade relations between early Bronze Age Germanic peoples and the Mediterranean Sea (/wiki/Mediterranean_Sea) . Such trade further increased in volume through the Iron Age (/wiki/Iron_Age) . [58] (#cite_note-FOOTNOTEOwen1960174–178-70) The early Germanic peoples imported a large amount of gold from Ireland and ornaments from cultures along the Danube (/wiki/Danube) . Large amounts of amber (/wiki/Amber) has been discovered at sites of the Hallstatt culture (/wiki/Hallstatt_culture) , testifying to a massive export of this commodity by the Germanic peoples to their Celtic southern neighbors. From the Hallstatt culture, this amber found its way to the Villanovan culture (/wiki/Villanovan_culture) . In return, the Germanic peoples imported salt from the Hallstatt culture. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) The arrival of iron from the south into Germanic territories led to a partial collapse of the Nordic Bronze Age. By this time the amber trade had declined. [58] (#cite_note-FOOTNOTEOwen1960174–178-70) Map showing the major Varangian (/wiki/Varangians) trade routes: the Volga trade route (/wiki/Volga_trade_route) (in red) and the Dnieper and Dniester routes (/wiki/Trade_route_from_the_Varangians_to_the_Greeks) (in purple). Other trade routes of the 8th–11th centuries shown in orange. Roman goods exported by the Romans to Germanic territories include beads (/wiki/Bead) , coins, glassware, silverware and weapons. In turn the Romans received amber, cattle, fur and slaves. By the 4th century, wine became a very important Roman export to the Germanic world. It became a luxury product widely consumed by Germanic leaders. [58] (#cite_note-FOOTNOTEOwen1960174–178-70) The two most important trade routes between Rome and the Germanic world went either along the North Sea coast or along the Vistula (/wiki/Vistula) towards the Adriatic (/wiki/Adriatic_Sea) . Significant trade routes were also located along the Oder (/wiki/Oder) and Elbe (/wiki/Elbe) rivers. [58] (#cite_note-FOOTNOTEOwen1960174–178-70) Trade relations between Rome and the Germanic peoples increased throughout the history of the Roman Empire. This trade also facilitated increased cultural contacts. As the Germanic peoples became more and more acquainted with Roman industrial products, their appreciation of Roman coinage (/wiki/Roman_currency) increased. The importation of Roman coins into Germanic territories reduced the importance of amber in Germanic society. Large collections of Roman coinage have been found deep into Germanic territories, even in Scandinavia. [58] (#cite_note-FOOTNOTEOwen1960174–178-70) Returning Germanic mercenaries in the Roman army (/wiki/Roman_army) brought back many Roman products to their communities. [58] (#cite_note-FOOTNOTEOwen1960174–178-70) One of the reasons the Romans may have drawn borders along the Rhine, besides the sizable population of Germanic warriors on one side of it, was that the Germanic economy was not robust enough for them to extract much booty nor were they convinced they could acquire sufficient tax revenue from any additional efforts of conquest. Drawing a distinctive line between themselves and Germanic people also incentivized alliances and trade as the Germanic people sought a share of the imperial wealth. [59] (#cite_note-FOOTNOTEManco2013202-71) Finance [ edit ] In early Germanic society, amber was an important medium of exchange. [58] (#cite_note-FOOTNOTEOwen1960174–178-70) Early Germanic peoples are recorded as being intensely opposed to taxation. For this reason, it is noted by Salvian (/wiki/Salvian) , native Romans in many cases preferred "barbarian" rule over Roman rule. [60] (#cite_note-FOOTNOTEKristinsson2010172-72) "For in the Gothic country the barbarians are so far from tolerating this sort of oppression that not even Romans who live among them have to bear it. Hence all the Romans in that region have but one desire, that they may never have to return to the Roman jurisdiction. It is the unanimous prayer of the Roman people in that district that they may be permitted to continue to lead their present life among the barbarians." [60] (#cite_note-FOOTNOTEKristinsson2010172-72) Roman coinage was coveted by the Germanic people who preferred silver to gold coins, mostly likely indications that a market economy was developing. Tacitus does mention the presence of a bartering system being observable among the Germanic people, but this was not exclusive, as he also writes of their use of "gold and silver for the purpose of commerce", adding rather sardonically in his text, that they preferred silver for buying cheap everyday goods. [61] (#cite_note-FOOTNOTETacitus200940_[Ch._5]-73) Such observations from Tacitus aside, fine metalwork, iron and glassware was soon being traded by the Germanic peoples along the coast of the North Sea of Denmark and the Netherlands (/wiki/Netherlands) . [62] (#cite_note-FOOTNOTEWaldmanMason2006315–316-74) Slavery [ edit ] Main article: Thrall (/wiki/Thrall) Slavery was common among the early Germanic peoples. Slaves were both captured during war and purchased. Certain slaves had on the contrary lost their freedom through gambling. Such individuals were however generally expelled from the community. As the Germanic peoples were frequently engaged in war, there was a constant supply of cheap slaves, although slavery was never as important an institution as it became in ancient Rome. [63] (#cite_note-FOOTNOTEOwen1960150–153-75) In the Germanic economy, slaves performed both domestic work and farm labor. Attractive female slaves would often end up as concubines (/wiki/Concubine) for leaders and wealthy landowners. Gladiator (/wiki/Gladiator) games between slaves, such as those carried out in ancient Rome, is not mentioned as having been common among Germanic peoples, although it is possible that such games were arranged among the Germanic peoples living on the Roman border. [63] (#cite_note-FOOTNOTEOwen1960150–153-75) According to Tacitus, Germanic peoples treated slaves more mildly than contemporary peoples. Although the master had complete power of life and death over his slave, mistreatment of slaves is not recorded in early Germanic literature. In the Icelandic sagas, the children of slaves and masters are often mentioned as playing with each other. The manumission (/wiki/Manumission) of slaves among Germanic peoples was common, just as it was among the Romans. Owen notes that the life of a Germanic slave was "infinitely better than on the industrialized farms of Italy.". [63] (#cite_note-FOOTNOTEOwen1960150–153-75) Craftsmanship [ edit ] [W]ith their great ferocity [Germans] combine great craft, to an extent scarcely credible to one who has had no experience with them, and are a race to lying born... [64] (#cite_note-FOOTNOTEWinkler2016303-76) – Marcus Velleius Paterculus (/wiki/Marcus_Velleius_Paterculus) After 1300 BCE the societies of Jutland (/wiki/Jutland) and Northern Germany (/wiki/Northern_Germany) along with the Celtic people experienced a major revolution in technology during the Late Bronze Age, shaping tools, containers and weapons through the improved techniques of working bronze. [ citation needed ] Both the sword and the bow and arrow as well as other weaponry proliferate and an arms race of sorts between the tribes ensued as they tried to outpace one another. Trade was taking place to a greater degree and simple gems and amber from the Mediterranean indicate that long-distance exchange of goods was occurring. [65] (#cite_note-FOOTNOTEWaldmanMason2006314–315-77) Important small-scale industries in Germanic society were weaving (/wiki/Weaving) , the manual production of basic pottery (/wiki/Pottery) and, more rarely, the fabrication of iron tools, especially weapons. [ citation needed ] When the Iron Age arrived, the Germanic people showed greater mastery of ironworks than their Celtic contemporaries but they did not have the extensive trade networks during this period that their southern neighbors enjoyed with the Greco-Roman world. [66] (#cite_note-FOOTNOTEWaldmanMason2006315-78) [m] (#cite_note-80) In many cases in fact, ancient Germanic smiths and other craftsmen produced products of higher quality than the Romans. [n] (#cite_note-82) [o] (#cite_note-84) Germanic metalworkers must have held very important positions in their societies. This is attested by the respect accorded to master craftsmen in Germanic literature, such as Wayland the Smith (/wiki/Wayland_the_Smith) . [58] (#cite_note-FOOTNOTEOwen1960174–178-70) Architecture [ edit ] Mead hall [ edit ] Main article: Mead hall (/wiki/Mead_hall) A reconstructed Viking Age mead hall (/wiki/Mead_hall) (28.5 metres long). A significant structure in Germanic architecture was the mead hall (/wiki/Mead_hall) . It was designed for the purpose of serving as a dining-hall, sleeping-room and assembly for the chieftain and his followers. Such hall are vividly described in the Germanic epics. In Beowulf (/wiki/Beowulf) , which takes place in 6th century Scandinavia, the mead hall is described as a quadrilateral structure of wood with a raised platform on either side within. In the center on one side of the mead-hall, there was a high-seat and a secondary high-seat, which were reserved for the chieftain and his guest of honor respectively. In front of the high-seats were long tables upon which heavy planks were raised. The chief's followers would sleep in the hall at raised platforms during the night, with their equipment hanging above on the wall ready for use. The king would normally sleep in a separate structure. A blazing hearth (/wiki/Hearth) was placed in the center of the hall. Infrastructure [ edit ] Archaeologists have discovered a number of well-constructed roads across moors in Germanic territories. Although the Germanic peoples were not road-builders, paths and wagon tracks were created. They later learned the art of road-building from Roman engineers (/wiki/Roman_engineering) . [49] (#cite_note-FOOTNOTEOwen1960166–174-60) Germanic peoples did not build bridges. Rivers were instead crossed at fords or by boats. This is vividly described in the Nibelungenlied. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) Dwellings [ edit ] The dwelling houses of the Germanic tribes varied by locality and time period. Typically, they were of timber and constructed rectangularly with walls of upright posts. Intervening spaces were filled with interwoven twigs (/wiki/Twig) and branches (/wiki/Branch) , and then smeared with clay (/wiki/Clay) . When dry this had the same effect as modern stucco (/wiki/Stucco) . Roofs were thatched with grass or straw. [70] (#cite_note-FOOTNOTEOwen1960139–143-85) Early Germanic houses were typically unitary, housing both humans and animals. Buildings often had upright logs or posts as walls, long crossed rafters (/wiki/Rafter) at the top and thatched (/wiki/Thatching) saddle roofs (/wiki/Saddle_roof) , with the interior of the house being divided into three parts by two rows of posts. The entrance was typically on the side and there was an exit in the roof for the smoke from the hearth. The living quarters were generally in one part of the building, while the stalls for cattle were in the side areas. [70] (#cite_note-FOOTNOTEOwen1960139–143-85) Round houses were not uncommon in Germanic architecture, but was more frequent among the Celts. This form of architecture appears to have been borrowed by Germanic peoples encroaching upon Celtic territory, such as the Marcomanni (/wiki/Marcomanni) . On the Column of Marcus Aurelius (/wiki/Column_of_Marcus_Aurelius) , Roman soldiers are depicted setting fire to such round houses belonging to the Marcomanni. [70] (#cite_note-FOOTNOTEOwen1960139–143-85) A more simple Germanic construction were log huts with thatched roofs at an angle of ca. 45 degrees. Such structures are described by Strabo (/wiki/Strabo) and Pliny, who claim that those could be loaded on wagons and established at a new place. These constructions were probably utilized during times of war or migration. [70] (#cite_note-FOOTNOTEOwen1960139–143-85) Germanic houses were frequently constructed on artificial mounds as a measure against flooding. This form of construction was particularly common along the North Sea coast, where floods were frequent. [70] (#cite_note-FOOTNOTEOwen1960139–143-85) Houses belonging to powerful members of the community were normally quite spacious. [70] (#cite_note-FOOTNOTEOwen1960139–143-85) Settlements [ edit ] Further information: Árheimar (/wiki/%C3%81rheimar) and Birka (/wiki/Birka) Germanic settlements were typically small, rarely containing much more than ten households, often less, and were usually located by clearings in the woods. [p] (#cite_note-86) Settlements remained of a fairly constant size throughout the period. [ citation needed ] Germanic settlements were typically along the coasts and rivers. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) Other buildings [ edit ] The more simple structures in Germanic villages were often dug-out shelters with dung (/wiki/Cow_dung) -covered roofs. These were generally used as supply-rooms, work-rooms or dwelling places for the poor. [70] (#cite_note-FOOTNOTEOwen1960139–143-85) Feddersen Wierde [ edit ] A reconstructed house from Feddersen Wierde in the Hannover Museum The best known settlements are the wurts, or warfts in North Germany. The classic site is Feddersen Wierde (/wiki/Feddersen_Wierde) , near Cuxhaven at the mouth of the River Weser. This was inhabited from the first century BC until the fifth century AD, when due to the rising sea level, they probably emigrated to England. A comprehensive archaeological excavation between 1954 and 1963 yielded valuable knowledge about prehistoric settlements in the North Germany Music [ edit ] This section is empty. You can help by adding to it (https://en.wikipedia.org/w/index.php?title=Early_Germanic_culture&action=edit&section=) . ( December 2019 ) Cuisine [ edit ] Diet [ edit ] Although the Germanic tribes practiced both agriculture and husbandry, the latter was extremely important both as a source of dairy products and as a basis for wealth and social status, which was measured by the size of an individual's herd. [71] (#cite_note-FOOTNOTEKishlanskyGearyO'Brien2008164-87) Caesar writes that the Germanic peoples mainly consumed milk, cheese and meat. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) The diet consisted mainly of the products of farming and husbandry and was supplied by hunting to a very modest extent. Barley and wheat were the most common agricultural products and were used for baking a certain flat type of bread as well as brewing beer. [56] (#cite_note-FOOTNOTEOsborne200839-67) Beowulf and the Icelandic sagas describe a society with a plentiful supply of food. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) Many of the famous Germanic mass-migrations carried out appear to have been motivated by famine (/wiki/Famine) , often induced by crop failures (/wiki/Crop_failure) . [49] (#cite_note-FOOTNOTEOwen1960166–174-60) Drinks [ edit ] Vendel Period (/wiki/Vendel_Period) bronze horn fittings and 3rd century glass drinking horn on display at the Swedish Museum of National Antiquities (/wiki/Swedish_Museum_of_National_Antiquities) . Further information: Mead (/wiki/Mead) and Symbel (/wiki/Symbel) Early Germanic peoples prepared both ale (/wiki/Ale) , mead (/wiki/Mead) , beer and wine. The importance of drinking at social functions is vividly described in pieces of Germanic literature such as Beowulf, the Nibelungenlied and the Poetic Edda (/wiki/Poetic_Edda) . [72] (#cite_note-FOOTNOTEOwen1960133–139-88) Both the words beer and ale (/wiki/Ale) are of distinct Germanic origin, having no cognates (/wiki/Cognate) in other Indo-European languages (/wiki/Indo-European_languages) . In early Germanic culture, beer had been sweetened by honey (/wiki/Honey) , while ale was made from grain alone. Since the honey had to be imported from the south, it is probable that ale was being drunk among the Germanic tribes earlier than beer. [72] (#cite_note-FOOTNOTEOwen1960133–139-88) Tacitus notes that the Germanic drink was "a liquid made from barley or wheat fermented into a faint resemblance of whine." [72] (#cite_note-FOOTNOTEOwen1960133–139-88) Evidence from Germanic literature and the Germanic vocabulary show that mead played a particularly important role in early Germanic culture. The oldest mentioning of mead (/wiki/Mead) being drunk by the Germanic tribes is from the 5th century writer Priscus (/wiki/Priscus) , who writes that mead was being consumed at the court of Attila. Mead was prepared through boiling a mixture of water and honey and leaving it to ferment (/wiki/Ferment) . In later times wine was added to the mead. [72] (#cite_note-FOOTNOTEOwen1960133–139-88) Wine seems to have been introduced to the Germanic tribes at a late date, as this drink could not be produced in Northern Europe, and had to be imported. [72] (#cite_note-FOOTNOTEOwen1960133–139-88) Contrary to Caesar, Tacitus writes that several Germanic tribes were known to drink excessively. Germanic drinking bouts were often accompanied with violence. Tacitus adds in this connection that the Germanic peoples were more easily defeated through exploiting their vices than by attacking them militarily. [72] (#cite_note-FOOTNOTEOwen1960133–139-88) Caesar notes that certain warlike and powerful Germanic tribes, such as the Nervii (/wiki/Nervii) and Suebi, practiced teetotalism (/wiki/Teetotalism) , banning the import of alcoholic beverages to their territories in order to combat degeneracy. [q] (#cite_note-90) [r] (#cite_note-92) Family life [ edit ] "The Women of the Teutons (/wiki/Teutons) Defend the Wagon Fort (/wiki/Laager) " (1882) by Heinrich Leutemann (/wiki/Heinrich_Leutemann) The most important family relationships among the early Germanic peoples were within the individual household, a fact based on the archaeological evidence from their settlements where the long-houses appeared to be central in their existence. Within the household unit, an individual was equally bound to both the mother and the father's side of the family. [75] (#cite_note-FOOTNOTETodd200432-93) Fathers were the main figures of authority, [76] (#cite_note-FOOTNOTEWaldmanMason2006317-94) but wives also played an important and respected role. Children were valued, and according to Tacitus, limiting or destroying one's offspring was considered shameful. Mothers apparently breast-fed their own children rather than using nurses. [ citation needed ] Besides parents and children, a household might include slaves, but slavery was uncommon, and according to Tacitus, slaves normally had households of their own. Their slaves (usually prisoners of war) were most often employed as domestic servants. [76] (#cite_note-FOOTNOTEWaldmanMason2006317-94) Extended family [ edit ] Further information: Sippe (/wiki/Sippe) and Norse clans (/wiki/Norse_clans) A drinking scene on an image stone (/wiki/Image_stone) from Gotland (/wiki/Gotland) , in the Swedish Museum of National Antiquities (/wiki/Swedish_Museum_of_National_Antiquities) in Stockholm. A Germanic family was part of an extended family known as the sippe (/wiki/Sippe) , which was the basis for the organization of Germanic society. The sippe provided the basis for the organization of the "hundreds" in times of war, and determined the amount of weregild to be paid in disputes. A family was the core of the household, which also included slaves and others who worked on the estate. [13] (#cite_note-FOOTNOTEOwen1960153–166-16) The writings of Tacitus allude to the Germanic peoples being aware of a shared ethnicity (/wiki/Ethnicity) , in that, they either knew or believed that they shared a common biological ancestor with one another. [ citation needed ] Just how pervasive this awareness may have been is certainly debatable, but other factors like language, clothing, ornamentation, hair styles, weapon types, religious practices and shared oral history were likely just as significant in tribal identity for the Germanic peoples. [77] (#cite_note-FOOTNOTEWaldmanMason2006318-95) Members of a Germanic tribe told tales about the exploits of heroic founding figures who were more or less mythologized. Village life consisted of free men assembled under a chieftain, all of whom shared common cultural and political traditions. Status among the early Germanic tribes was often gauged by the size of a man's cattle herd or by one's military prowess. [78] (#cite_note-FOOTNOTEGeary1999111-96) Before their conversion to Christianity, the Germanic peoples of Europe were made up of several tribes (/wiki/Tribe) , each functioning as an economic and military unit and sometimes united by a common religious cult. Outsiders could be adopted into a new tribe. Kinship (/wiki/Kinship) , especially close kinship, was very important to life within a tribe but generally was not the source of a tribe's identity. In fact, several elements of ancient Germanic life tended to weaken the role of kinship: the importance of the retinues (/wiki/Retinue) surrounding military chieftains (/wiki/Chieftain) , the ability of strong leaders to unite people who were not closely related, and feuds (/wiki/Feud) and other conflicts within a tribe that might lead to permanent divisions. [13] (#cite_note-FOOTNOTEOwen1960153–166-16) A code of ethics in battle prevailed among the Germanic kin. According to Tacitus, the greatest disgrace that can befall a warrior of a clan among the Germanic tribes was the abandonment of their shield during combat, as this almost certainly resulted in social isolation. [79] (#cite_note-FOOTNOTETacitus200940_[Ch._6]-97) Within tribal Germanic society, their social hierarchy was linked intrinsically to war and this warrior code maintained the fidelity between chiefs and their young warriors. [80] (#cite_note-FOOTNOTEHeather2003324-98) Feuds were the standard means for resolving conflicts and regulating behavior. Peace within the tribe was about controlling violence with codes identifying exactly how certain types of feuds were to be settled. [77] (#cite_note-FOOTNOTEWaldmanMason2006318-95) Those closely related to a person who had been injured or killed were supposed to exact revenge on or monetary payment from the offender. This duty helped reaffirm the bonds between extended family members. Yet such feuds weakened the tribe as a whole, sometimes leading to the creation of a new tribe as one group separated from the rest. Clans of Germanic people consisted of groupings of about 50 households in total with societal rules for each specific clan. [76] (#cite_note-FOOTNOTEWaldmanMason2006317-94) Recent scholarship suggests that, despite the obligation to take part in feuds and other customs involving kinship ties, extended families (/wiki/Extended_families) did not form independent units among the early Germanic peoples. [ citation needed ] Though most members of a tribe would have been more or less distantly related, common descent was not the main source of a tribe's identity, and extended families were not the main social units within a tribe. Traditional theories have emphasized the supposedly central role in Germanic culture of clans or large groups with common ancestry. But there is little evidence that such clans existed, and they were certainly not an important element of social organization. As historian Alexander C. Murray concludes, "kinship was a crucial factor in all aspects of barbarian activity, but its uses and groupings were fluid, and probably on the whole not long lasting." [81] (#cite_note-FOOTNOTEMurray198364-99) Internal competition within the factions of a tribe occasionally resulted in internecine warfare which weakened and sometime destroyed a group, as appears to have been the case for the Cherusci tribe during Rome's earlier period. [82] (#cite_note-FOOTNOTETodd200430-100) When a certain number of families resided on the same territory, this constituted a village ( Dorf in German). The overall territory occupied by people from the same tribe was designated in the writings of Tacitus as a civitas , with each of the individual civitas divided into pagi (or cantons), which were made up of several vici . [ citation needed ] In cases where the tribes were grouped into larger confederations or a group of kingdoms, the term pagus (/wiki/Pagus) was applied ( Gau in German). [83] (#cite_note-FOOTNOTEBémontMonod2012410–415-101) Extensive contact with Rome altered the egalitarian structure of tribal Germanic society. As individuals rose to prominence, a distinction between commoner and nobility developed and with it the previous constructs of folkright shared equally across the tribe was replaced in some cases by privilege. [84] (#cite_note-FOOTNOTEWaldmanMason2006321-102) As a result, Germanic society became more stratified (/wiki/Social_stratification) . Elites within the Germanic tribes who learned the Roman system and emulated the way they established dominion were able to gain advantages and exploit them accordingly. [85] (#cite_note-FOOTNOTEPohl199734-103) Important changes began taking place by the 4th century CE as Germanic peoples, while still cognizant of their unique clan identities, started forming larger confederations of a similar culture. Gathering around the dominant tribes among them and hearkening to the most charismatic leaders brought the various barbarians tribes closer together. On the surface this change appeared to the Romans as welcome since they preferred to deal with a few strong chiefs to control the populations that they feared across the Rhine and Danube, but it eventually made these Germanic rulers of confederated peoples more and more powerful. [86] (#cite_note-FOOTNOTESantosuo20049-104) While strong, they were still not federated to one another since they possessed no sense of "pan-Germanic solidarity", but this started to change noticeably by the 5th century CE at Rome's expense. [87] (#cite_note-FOOTNOTEWard-Perkins200550–51-105) Role of women [ edit ] Hervor (/wiki/Hervor) dying after the Battle of the Goths and Huns (/wiki/Hl%C3%B6%C3%B0skvi%C3%B0a) , by Peter Nicolai Arbo (/wiki/Peter_Nicolai_Arbo) See also: Shieldmaiden (/wiki/Shieldmaiden) In early Germanic society, a woman had no formal political rights, meaning that she was not permitted to participate in popular or tribal assemblies. She could be represented through her male relatives, and thus only exert influence from behind the scenes. [88] (#cite_note-FOOTNOTEOwen1960143–147-106) Despite their lack of direct political influence, Roman writers note that Germanic women had much influence in their society. [88] (#cite_note-FOOTNOTEOwen1960143–147-106) Some tribes believed that women possessed magical powers and were feared accordingly. [89] (#cite_note-FOOTNOTEWilliams199879-107) Female priestesses had a major influence on decisions made by Cimbri (/wiki/Cimbri) and Teutones (/wiki/Teutones) during the Cimbrian War (/wiki/Cimbrian_War) , and Ariovistus (/wiki/Ariovistus) during his war with Caesar. [88] (#cite_note-FOOTNOTEOwen1960143–147-106) Germanic epics, such as the Nibelungenlied and Beowulf, describe the strong influence which royal women exerted in their society. [88] (#cite_note-FOOTNOTEOwen1960143–147-106) Goddesses revered among the Germanic tribes include Nerthus (/wiki/Nerthus) of the Ingvaeones and Freya (/wiki/Freya) . [88] (#cite_note-FOOTNOTEOwen1960143–147-106) Tacitus describes how, during battles, Germanic warriors were encouraged and cared for by their wives and mothers. Germanic literature contains many references to mischief caused by women. Women playing a prominent role in Germanic literature include Gudrun (/wiki/Gudrun) , Brunhild (/wiki/Brunhild) and the wives of Gunther (/wiki/Gunther) and Njáll Þorgeirsson (/wiki/Nj%C3%A1ll_%C3%9Eorgeirsson) . [88] (#cite_note-FOOTNOTEOwen1960143–147-106) Sexuality [ edit ] Julius Caesar (/wiki/Julius_Caesar) notes that early Germanic peoples believed sexual abstinence (/wiki/Sexual_abstinence) until adulthood increased physical growth and manliness. [90] (#cite_note-FOOTNOTEOwen1960152–153-108) For a young Germanic man, having had sexual relations with a woman before the age of twenty was considered a disgrace: "Life is all in hunting and military exercise. From childhood they train for labor and hardship. They have great praise among them for those who remain longest without sexual experience. Some think this makes for height, muscle, and strength. Indeed to have had knowledge of a woman before age twenty they think very shameful, and there is no hiding it..." [91] (#cite_note-FOOTNOTECaesar2019154,_6.21-109) Caesar further noted, to his amazement, that men and women would frequently bath naked together in lakes and rivers. [90] (#cite_note-FOOTNOTEOwen1960152–153-108) Marital relations [ edit ] Process of marriage [ edit ] The Ring of Pietroassa (/wiki/Ring_of_Pietroassa) (drawing by Henri Trenk (/wiki/Henri_Trenk) , 1875). Generally, there were two forms of marriage among the Germanic peoples, one involving the participation of the parents and the other, those that did not. Known as Friedelehe , the latter form consisted of marriage between a free man and a free woman, since marriage between free persons and slaves was forbidden by law. [92] (#cite_note-FOOTNOTEFrassetto2003262-110) Of note, Tacitus observed that "The dowry (/wiki/Dowry) is not brought by the wife to the husband but by the husband to the wife" and wedding gifts related to a marriage consisted of things like oxen, saddles and various armaments. The marriage of a daughter was typically arranged by her parents, although the wishes of the daughter was generally taken into considerations. Sometimes girls would be given away for marriage as a way to preserve the peace. [88] (#cite_note-FOOTNOTEOwen1960143–147-106) Marriageable age [ edit ] The age at first marriage (/wiki/Marriageable_age) among ancient Germanic tribes, according to Tacitus, was late for women compared to Roman women: "The young men are slow to mate, and reach manhood with unimpaired vigour. Nor are the virgins hurried into marriage. Being as old and as tall as the men, they are equal to their mates in age and strength, and the children inherit the robustness of their parents." [93] (#cite_note-FOOTNOTETacitus200948_[Ch._20]-111) Where Aristotle (/wiki/Aristotle) had set the prime of life at 37 years for men and 18 for women, the Visigothic Code (/wiki/Visigothic_Code) of law in the 7th century placed the prime of life at twenty years for both men and women, after which both presumably married. Thus it can be presumed that ancient Germanic brides were on average about twenty and were roughly the same age as their husbands. [94] (#cite_note-FOOTNOTEHerlihy198573–75-112) Anglo-Saxon women, like those of other Germanic tribes, are marked as women from the age of twelve onward, based on archaeological finds, implying that the age of marriage coincided with puberty (/wiki/Puberty) . [95] (#cite_note-FOOTNOTEGreenSiegmund2003107-113) Monogamy vs. polygamy [ edit ] Based on the writings of Tacitus, most of the Germanic men were content with one wife, which indicates a general trend towards monogamy (/wiki/Monogamy) . Tacitus notes that the Germanic tribes were strictly monogamous, and that adultery was severely punished: Considering the great size of the population, adultery is very rare. The penalty for it is instant and left to the husband. He cuts off her hair, strips her naked in the presence of kinsmen, and flogs her all through the village. They have no mercy on a woman who prostitutes her chastity. Neither beauty, nor youth, nor wealth can find her another husband. In fact, no one there laughs about vice, nor is seducing and being seduced called "modern"... To limit the number of their children or to kill one of the later-born is regarded as a crime. [96] (#cite_note-FOOTNOTETacitus200947-48_[Ch._19]-114) For those higher within their social hierarchy however, polygamy (/wiki/Polygamy) was sometimes solicited on account of their rank. [97] (#cite_note-FOOTNOTETacitus200947_[Ch._18]-115) [s] (#cite_note-116) Intermarriage [ edit ] Statue of Thusnelda (/wiki/Thusnelda) , wife of Arminius (/wiki/Arminius) , at Loggia dei Lanzi (/wiki/Loggia_dei_Lanzi) , Florence. For Germanic kings, warrior chieftains, senators and Roman nobility (/wiki/Roman_nobility) , a certain degree of intermarriage was undertaken to strengthen their ties to one another and to the Empire, making marriage or connubium as the Romans connoted the bond, an instrument of politics. [98] (#cite_note-FOOTNOTEWolfram1997105-117) Earlier treaty terms in the late 4th century CE had forbidden "foreign" Goths to intermarry with Romans. [99] (#cite_note-FOOTNOTEWolfram199788-118) Some of the marriage attempts of the 6th century CE were deliberately planned for the sake of royal succession. Imperial policy had to be carefully charted between the Roman-Germanic claimants to kingship and the maintenance of Roman imperial administration, as the federated Germanic kings attempted to put their stamp on Roman rule and replace Roman armies with their own warriors. Roman leaders were not oblivious to the clever tactics (intermarriage and offspring) employed by Germanic chieftains and adopted creative treaties to either appease them or temper their ambitions. [100] (#cite_note-FOOTNOTEWolfram1997106–107-119) Marriage roles [ edit ] Upon being married, a Germanic woman fell under the guardianship of her husband. She became his property. If a man was proven guilty of being violent towards his wife, her family would in some cases begin feud against her husband. Such feuds are described vividly in the Icelandic sagas. [88] (#cite_note-FOOTNOTEOwen1960143–147-106) Revealing the warlike nature of their society, Tacitus reported that wives came to their husbands as a partner in toils and dangers; to suffer and to dare equally with him, in peace and in war. [97] (#cite_note-FOOTNOTETacitus200947_[Ch._18]-115) Upon the death of their husbands and other male relatives on the battlefield and the defeat of their tribe, Germanic women are recorded by Roman historians as having killed their children (/wiki/Infanticide) and committed suicide. Such was the fate of the women of the Cimbri and Teutons after their defeat in the Cimbrian War. [88] (#cite_note-FOOTNOTEOwen1960143–147-106) For Germanic women of later antiquity, marriage obviously had its appeal since it offered greater security and better placement in their social hierarchy. [101] (#cite_note-FOOTNOTEFrassetto2003261-120) Evidence of Germanic patriarchy (/wiki/Patriarchy) is evident later in the 7th century CE Edict of Rothari (/wiki/Edict_of_Rothari) of the Lombards, which stated that women were not allowed to live of their own freewill and that they had to be subject to a man and if no one else, they were to be "under the power of the king". [102] (#cite_note-FOOTNOTEBury1928281-121) From the Icelandic sagas, it becomes evident that married women had almost complete control of household management. [88] (#cite_note-FOOTNOTEOwen1960143–147-106) In the case of renowned leaders, their wives were sometimes burned alive with their dead husbands. This tradition is vividly described in the Germanic epics, and the wives who subjected themselves to immolation are praised for their loyalty to their husbands. [88] (#cite_note-FOOTNOTEOwen1960143–147-106) Divorce [ edit ] In cases of divorce described in the Icelandic sagas, the purchase price for the woman had to be paid back to her parents, and she was permitted to retain property legally owned by her. [88] (#cite_note-FOOTNOTEOwen1960143–147-106) Archaeology [ edit ] Further information: Corded Ware culture (/wiki/Corded_Ware_culture) , Nordic Bronze Age (/wiki/Nordic_Bronze_Age) , Pre-Roman Iron Age (/wiki/Pre-Roman_Iron_Age) , Roman Iron Age (/wiki/Roman_Iron_Age) , Germanic Iron Age (/wiki/Germanic_Iron_Age) , Vendel Period (/wiki/Vendel_Period) , and Viking Age (/wiki/Viking_Age) This section is empty. You can help by adding to it (https://en.wikipedia.org/w/index.php?title=Early_Germanic_culture&action=edit&section=) . ( December 2019 ) See the Jastorf culture (/wiki/Jastorf_culture) for a discussion of Germanic archaeology. Art [ edit ] Further information: Migration Period art (/wiki/Migration_Period_art) , Anglo-Saxon art (/wiki/Anglo-Saxon_art) , and Viking art (/wiki/Viking_art) This section is empty. You can help by adding to it (https://en.wikipedia.org/w/index.php?title=Early_Germanic_culture&action=edit&section=) . ( December 2019 ) Appearances [ edit ] Attempt to reconstruct Bastarnae (/wiki/Bastarnae) costumes at the Archaeological Museum of Kraków (/wiki/Archaeological_Museum_of_Krak%C3%B3w) . Such clothing and weapons were commonplace among peoples on the Roman Empire's borders. Sources [ edit ] The practice of cremation by Germanic tribes of the Bronze Age and Pre-Roman Iron Age has made it difficult to ascertain the clothing of Germanic peoples during the initial years of the Iron Age. By the beginning of the Roman Iron Age (/wiki/Roman_Iron_Age) however, burial practices were again changing, although little clothing is generally preserved in burials. [103] (#cite_note-FOOTNOTEOwen1960115–119-122) The clothing of Germanic criminals buried in the moors (/wiki/Moorland) has however been well preserved due to the physical conditions. The descriptions by Roman writers, and particularly the depictions of Germanic warriors on Roman columns, provide valuable evidence of the clothing used by the early Germanic peoples. [103] (#cite_note-FOOTNOTEOwen1960115–119-122) Clothing [ edit ] Further information: Anglo-Saxon dress (/wiki/Anglo-Saxon_dress) Male clothing [ edit ] By the Roman Iron Age, as in the Bronze Age, Germanic peoples were wearing long-sleeved jackets reaching down the knees, and a skin or woolen mantle (/wiki/Mantle_(clothing)) held at the neck with a brooch or safety pin. Contrary to the Bronze Age however, trousers were now being used. This custom had been adopted from the Celts, who in turn had adopted this custom from nomads (/wiki/Eurasian_nomads) of the steppes (/wiki/Eurasian_Steppe) . The adoption of this custom has been ascribed to climatic changes and the increased role of horsemanship in Germanic culture at the time. [103] (#cite_note-FOOTNOTEOwen1960115–119-122) Caesar notes that the Suebi wore only skins, but Tacitus does not agree with this in his observations a hundred years later. While customs might have changed during this time, it is probable that Caesar based his observations strictly from warriors. Evidence from Roman columns and moor bodies substantiate Tacitus. [103] (#cite_note-FOOTNOTEOwen1960115–119-122) Roman monuments typically depicts Germanic warriors as being naked from the waist up, except from a mantle worn over the shoulders. This was probably to achieve increased mobility. [103] (#cite_note-FOOTNOTEOwen1960115–119-122) From about the 3rd century AD, linen (/wiki/Linen) clothing appears more frequently, which is a sign of increasing wealth. [103] (#cite_note-FOOTNOTEOwen1960115–119-122) Reconstruction of the garments of the Vandalic (/wiki/Vandals) couple, with the male having his hair in a " Suebian knot (/wiki/Suebian_knot) " (160 AD), Archaeological Museum of Kraków (/wiki/Archaeological_Museum_of_Krak%C3%B3w) , Poland. Jackets from the 3rd century AD were typically worn over a linen garment. Short knee trousers were also worn. This is shown from moor burials, and from the fact that such trousers began to be used by Roman soldiers at the time, probably as an imitation of Germanic warriors. [103] (#cite_note-FOOTNOTEOwen1960115–119-122) Female clothing [ edit ] Further information: Hangaroc (/wiki/Hangaroc) and Hangerok (/wiki/Hangerok) The dress of Germanic women changed considerably from the Bronze Age to the Iron Age. In particular, skirts were more ample and free-flowing. The girle-ornament of the Bronze Age was no longer worn. Tacitus writes that Germanic women more frequently wore linen garments than men. They wore long dresses that were generally dyed in red or other colors. This dress had a high waist and was generally sleeveless. The dress of Germanic women indicate a high degree of practical knowledge of the use of materials. Women must have had a knowledge of dying, and colors were certainly derived from plants. Germanic women are notably depicted in one Roman illustration with trousers and the upper part of the breast partly exposed. This is however not the case from moor burials and other illustrations. It is possible that this illustration was of a female figure symbolizing Germania rather than a typical Germanic woman. Headgear [ edit ] While Germanic males of the Bronze Age generally wore a helm-like cap, the Iron Age was characterized by leaving heads uncovered, whereas the head decorations of Germanic women varied considerably with the times. [104] (#cite_note-FOOTNOTEOwen1960115–118-123) Women typically wore various kinds of "combs, hairpins and head decoration" as well as ornaments around the forehead; it was also customary for women to wear their hair long and short hair was considered "a mark of disgrace." [105] (#cite_note-FOOTNOTEOwen1960118-124) Shoes [ edit ] Early Germanic peoples typically wore shoes of the sandal (/wiki/Sandal) type. [103] (#cite_note-FOOTNOTEOwen1960115–119-122) Hairstyles [ edit ] The Osterby Head (/wiki/Osterby_Man#Osterby_Head) with Suebian knot (/wiki/Suebian_knot) Further information: Suebian knot (/wiki/Suebian_knot) By the Iron Age, Germanic warriors, particularly those of the Suebi, are known for wearing their hair in a so-called Suebian knot (/wiki/Suebian_knot) . [103] (#cite_note-FOOTNOTEOwen1960115–119-122) By the 3rd century AD, significant changes had occurred with regards to the Germanic hairstyle. The custom of wearing the hair long had become prominent among such peoples as the Franks, among whom it became a sign of noble birth and eligibility for kingship. [103] (#cite_note-FOOTNOTEOwen1960115–119-122) Germanic warriors are often depicted in Roman columns with full beards (/wiki/Beard) , but this practice probably varied from tribe to tribe and period to period. [103] (#cite_note-FOOTNOTEOwen1960115–119-122) Germanic women typically wore their hair long or plaited. Germanic women wore various types of hairpins and combs. It was considered disgraceful to wear the hair short. [103] (#cite_note-FOOTNOTEOwen1960115–119-122) Ornaments [ edit ] The Germanic peoples of the Bronze Age are well known for their ornaments (/wiki/Ornament_(art)) . The same techniques were handed down to the craftsmen of the Iron Age. [103] (#cite_note-FOOTNOTEOwen1960115–119-122) The display of ornaments played an important part in early Germanic culture. Products were made of both bronze (/wiki/Bronze) , gold and silver. Early Germanic literature reserves a prominent place for ornaments such as the Brísingamen (/wiki/Br%C3%ADsingamen) of the goddess Freya, the Nibelung (/wiki/Nibelung) hoard and the heirlooms of Beowulf. [103] (#cite_note-FOOTNOTEOwen1960115–119-122) Recreational activities [ edit ] Gambling [ edit ] Roman writers note that Germanic peoples were extremely fond of gambling. Francis Owen note that these Roman observations were made from Germanic warriors, who were not necessarily representative of their communities as a whole. [106] (#cite_note-FOOTNOTEOwen1960151-125) Germanic studies [ edit ] Further information: Viking revival (/wiki/Viking_revival) , Gothicism (/wiki/Gothicism) , Scandinavism (/wiki/Scandinavism) , and Pan-Germanism (/wiki/Pan-Germanism) Thor's Fight with the Giants (/wiki/Thor%27s_Fight_with_the_Giants) (1872) by Mårten Eskil Winge (/wiki/M%C3%A5rten_Eskil_Winge) was made during the Viking revival (/wiki/Viking_revival) . The Renaissance (/wiki/Renaissance) revived interest in pre-Christian Classical Antiquity (/wiki/Classical_Antiquity) and only in a second phase in pre-Christian Northern Europe. [107] (#cite_note-FOOTNOTEMcGrath2015146–151-126) The Germanic peoples of the Roman era were often lumped with the other agents of the " barbarian (/wiki/Barbarian) " invasions, the Alans (/wiki/Alans) and the Huns (/wiki/Huns) , as opposed to the civilized Roman identity of the Holy Roman Empire (/wiki/Holy_Roman_Empire) . [108] (#cite_note-FOOTNOTEBurns20033–9,_14–23,_331-127) Early modern publications dealing with Old Norse (/wiki/Old_Norse) culture appeared in the 16th century, e.g. Historia de gentibus septentrionalibus ( Olaus Magnus (/wiki/Olaus_Magnus) , 1555) and the first edition of the 13th century Gesta Danorum (/wiki/Gesta_Danorum) (Saxo Grammaticus), in 1514. [109] (#cite_note-FOOTNOTEGolther19083-128) Authors of the German Renaissance (/wiki/German_Renaissance) such as Johannes Aventinus (/wiki/Johannes_Aventinus) discovered the Germani of Tacitus as the "Old Germans", whose virtue and unspoiled manhood, as it appears in the Roman accounts of noble savagery (/wiki/Noble_savage) , they contrast with the decadence of their own day. [110] (#cite_note-FOOTNOTEStrauss1963229–230-129) The pace of publication increased during the 17th century with Latin translations of the Edda (notably Peder Resen's Edda Islandorum of 1665). The Viking revival (/wiki/Viking_revival) of 18th century Romanticism (/wiki/Romanticism) created a fascination with anything "Nordic" in disposition. [111] (#cite_note-FOOTNOTEMjöberg1980207–238-130) The beginning of Germanic philology (/wiki/Germanic_philology) proper begins in the early 19th century, with Rasmus Rask (/wiki/Rasmus_Rask) 's Icelandic Lexicon of 1814, and was in full bloom by the 1830s, with Jacob Grimm (/wiki/Jacob_Grimm) 's Deutsche Mythologie (/wiki/Deutsche_Mythologie) giving an extensive account of reconstructed Germanic mythology (/wiki/Germanic_mythology) and composing a German dictionary ( Deutsches Wörterbuch (/wiki/Deutsches_W%C3%B6rterbuch) ) of Germanic etymology (/wiki/Common_Germanic) . [112] (#cite_note-FOOTNOTEChisholm1911414-131) Jacob Grimm also coauthored with his brother Wilhelm (/wiki/Wilhelm_Grimm) , the famous Grimm's Fairy Tales (/wiki/Grimm%27s_Fairy_Tales) . Apart from linguistic studies, the subject of what became of the Roman era Germanic tribes, and how they influenced the Middle Ages (/wiki/Middle_Ages) and the development of modern Western culture (/wiki/Western_culture) was a subject discussed during the Enlightenment (/wiki/The_Enlightenment) by such as writers as Montesquieu (/wiki/Montesquieu) and Giambattista Vico (/wiki/Giambattista_Vico) . [113] (#cite_note-FOOTNOTEKramerMaza2002124–138-132) The development of Germanic studies as an academic discipline in the 19th century ran parallel to the rise of nationalism (/wiki/Nationalism) in Europe and the search for national histories (/wiki/Nationalism_and_historiography) for the nascent nation states (/wiki/Nation_state) developing after the end (/wiki/Congress_of_Vienna) of the Napoleonic Wars (/wiki/Napoleonic_Wars) . [114] (#cite_note-FOOTNOTEJansen2011242–243-133) A Germanic national ethnicity offered itself for the unification of Germany (/wiki/Unification_of_Germany) , contrasting the emerging German Empire (/wiki/German_Empire) with its neighboring rivals of differing ancestry. [115] (#cite_note-FOOTNOTEJansen2011242–249-134) The emergence of a German ethnic identity was subsequently founded upon national myths (/wiki/National_myth) of Germanic antiquity. [116] (#cite_note-FOOTNOTEMosse196467–87-135) These tendencies culminated in a later Pan-Germanism (/wiki/Pan-Germanism) , Alldeutsche Bewegung which had as its aim, the political unity of all of German-speaking Europe (/wiki/German-speaking_Europe) (all Volksdeutsche (/wiki/Volksdeutsche) ) into a Germanic nation state. [117] (#cite_note-FOOTNOTEMosse1964218–225-136) [118] (#cite_note-FOOTNOTESmith198997–111-137) Contemporary Romantic nationalism (/wiki/Romantic_nationalism) in Scandinavia placed more weight on the Viking Age (/wiki/Viking_Age) , resulting in the movement known as Scandinavism (/wiki/Scandinavism) . [119] (#cite_note-FOOTNOTEDerry201227,_220,_238–248-138) Following World War II (/wiki/World_War_II) there was a backlash against nationalism, and as a response, government support for the study of ancient Germanic history and culture was significantly reduced both in Germany and Scandinavia. [t] (#cite_note-140) In these years, what remained of Germanic studies was characterized by a reaction against nationalism. Archaeological attempts to assign an identity to early Germanic peoples was deliberately avoided. [u] (#cite_note-142) The uniqueness, common northern origins and antiquity of the early Germanic peoples were called into question. [v] (#cite_note-Todd_9-143) The movement gained particular momentum during the 1960s. It has been strongly associated with the so-called Vienna School , which is associated with the European Science Foundation (/wiki/European_Science_Foundation) and includes prominent members such as Reinhard Wenskus (https://de.wikipedia.org/wiki/Reinhard_Wenskus) , Walter Pohl (/wiki/Walter_Pohl) , Herwig Wolfram (/wiki/Herwig_Wolfram) . [122] (#cite_note-FOOTNOTELiebeschuetz2015314-144) These scholars employed sociological (/wiki/Sociology) theories to reject the concept of ethnicity (/wiki/Ethnicity) entirely. While Wenskus earlier maintained that the early Germanic peoples held a certain core-tradition ( Traditionskern ), Pohl has later maintained that early Germanic peoples had no institutions or values of their own, and made no contribution to medieval Europe whatsoever. [w] (#cite_note-Liebeschuetz_xxi-145) These views are seconded by Wolfram, who states that Germans (/wiki/Germans) and Scandinavians (/wiki/Scandinavians) "have as much a Germanic history" as " Slavic nations (/wiki/Slavs) , Greeks (/wiki/Greeks) , Turks (/wiki/Turkish_people) and even the Tunisians (/wiki/Tunisians) and Maltese (/wiki/Maltese_people) ." [123] (#cite_note-FOOTNOTEWolfram199712-146) Wolf Liebeschuetz (/wiki/Wolf_Liebeschuetz) has characterized the theories of the Vienna School as "extraordinarily one-sided" and "dogmatism", and its proponents as having "a closed mind". [w] (#cite_note-Liebeschuetz_xxi-145) More recently, an even more radical group has emerged, which also employs sociological theories to deconstruct (/wiki/Deconstruction) Germanic peoples, while accusing the Vienna School of being " crypto (https://en.wiktionary.org/wiki/crypto) - nationalists (/wiki/Nationalists) ". Andrew Gillett (/wiki/Andrew_Gillett) has emerged as a leading figure among these scholars. According to them, linguistic evidence and Roman and early Germanic literature is unreliable, while archaeology "cannot be used to distinguish between peoples, and should not be used to trace migration". They state that Germanic culture was entirely derived from the Romans, and that there was therefore "no Germanic contribution to medieval Europe." [x] (#cite_note-149) Gillett's theories have been dismissed by Liebeschuetz [y] (#cite_note-Liebeschuetz_xxv-151) as "flawed because they depend on a dogmatic and selective use of the evidence" and "very strongly ideological". [z] (#cite_note-153) In modern times, Malcolm Todd (/wiki/Malcolm_Todd) writes, the ideologically motivated theories of the post-war era have lost currency. The origins of the Germanic peoples are again traced to the first millennium BC, or even the Late Neolithic (/wiki/Late_Neolithic) , in Northern Europe. [v] (#cite_note-Todd_9-143) See also [ edit ] Wikimedia Commons has media related to Ancient Germanic history and culture (https://commons.wikimedia.org/wiki/Category:Ancient_Germanic_history_and_culture) . Early Slavs (/wiki/Early_Slavs) Ancient Greece (/wiki/Ancient_Greece) Ancient Rome (/wiki/Ancient_Rome) Scythians (/wiki/Scythians) Sarmatians (/wiki/Sarmatians) Notes [ edit ] ^ (#cite_ref-11) See: Don Ringe, A Linguistic History of English: From Proto-Indo-European to Proto-Germanic (New York: Oxford University Press, 2006), 213. ^ (#cite_ref-12) Of the Germanic languages, the only well-attested East Germanic language is Gothic. [a] (#cite_note-11) ^ (#cite_ref-14) For more on this, see: Kurt Braunmüller, "Was ist Germanisch heute?" Sprachwissenschaft 25 (2000): 271–295. ^ (#cite_ref-22) As late as the 10th century there is evidence of runic writing on a stone monument erected by the first Christian king of Denmark (/wiki/Denmark) , Harald Bluetooth (/wiki/Harald_Bluetooth) . In the text, Harald honors his parents using runic script and on the other side of the stone is a depiction of 'Christ in His Glory', incorporating a runic inscription which extolls Harald for acquiring Denmark (/wiki/Denmark) and Norway (/wiki/Norway) and for converting the Danes (/wiki/Danes_(Germanic_tribe)) into Christians. See: Moltke (1985). Runes and Their Origin: Denmark and Elsewhere , pp. 207–220. ^ (#cite_ref-28) Many groups of Germanic peoples shared one form or another of a creation story where a divine being emerges from nothingness only to be sacrificed and torn to pieces; the bones of this divine creature (named Ymir) produced the rocks, his flesh became the earth, his blood formed the seas, the clouds emerged from his hair, and his skull made up the sky. [22] (#cite_note-FOOTNOTEEliade1984155–156-26) In this creation story, a mighty tree called Yggdrasill (/wiki/Yggdrasill) is situated at the center of the earth, its top touching the sky, its branches covering the earth, and the great tree's roots plunging into hell. Connecting the three planes of "Heaven, Earth, and Hades", this "Universal Tree" symbolized the universe itself. [23] (#cite_note-FOOTNOTEEliade1984157-27) ^ (#cite_ref-34) The principle shared deity among the Germanic tribes, Odin-Wodan, (in varying name forms) was not only the god of war, but of the dead as well. Odin protected great heroes in combat but often killed his "protégés", who were led to him by the Valkyries (/wiki/Valkyrie) and gathered together at Valhalla (/wiki/Valhalla) to practice fighting in preparation for the final eschatological battle of the Ragnarök (/wiki/Ragnar%C3%B6k) . [28] (#cite_note-FOOTNOTEEliade1984161-33) ^ (#cite_ref-43) See: Levison (1905). Vitae Sancti Bonifatii archiepiscopi moguntini , pp. 31–32. ^ (#cite_ref-50) "The rigorous ethics of early Germanic society, based on trust, loyalty, and courage, and the perhaps somewhat idealized picture of the moral code given by Tacitus, had a divine sanction..." [42] (#cite_note-FOOTNOTEGermanic_religion_and_mythology,_''Encyclopædia_Britannica_Online''-49) ^ (#cite_ref-53) "When a nation either defends itself in war or wages it, magistrates are selected to be in charge of the war with power of life and death... Those unwilling to follow are thought as deserters and traitors and are no longer trusted in anything." [44] (#cite_note-FOOTNOTECaesar2019155,_6.23-52) ^ (#cite_ref-58) E.g. "If a freeman steal from the king, let him pay ninefold", in the Law of Æthelberht (/wiki/Law_of_%C3%86thelberht) , paragraph 4. ^ (#cite_ref-59) E.g. reduction of the weregild to half the regular amount if the man responsible for the killing is employed by the king in the laws of Æthelberht of Kent, paragraph 7. ^ (#cite_ref-69) "Teutonic tribes who moved into a large part of western Europe did not come empty-handed, and in some respects their technology was superior to that of the Romans. It has already been observed that they were people of the Iron Age, and although much about the origins of the heavy plow remains obscure these tribes appear to have been the first people with sufficiently strong iron plowshares to undertake the systematic settlement of the forested lowlands of northern and western Europe, the heavy soils of which had frustrated the agricultural techniques of their predecessors. The invaders came thus as colonizers. They may have been regarded as "barbarians" by the Romanized inhabitants of western Europe who naturally resented their intrusion, and the effect of their invasion was certainly to disrupt trade, industry, and town life. But the newcomers also provided an element of innovation and vitality." [57] (#cite_note-FOOTNOTEHistory_of_Technology:_Medieval_advance_(500–1500_ce),_''Encyclopædia_Britannica_Online''-68) ^ (#cite_ref-80) "The Teutonic tribes who conquered and divided the Roman Empire were little versed in the monumental arts and unskilled in figure representation; but in metalworking, in the making of weapons and other utilitarian objects, and in the delicate ornament of the goldsmith's art they excelled.." [67] (#cite_note-FOOTNOTEMetalwork:_Teutonic_Tribes,_''Encyclopædia_Britannica_Online''-79) ^ (#cite_ref-82) "Some smiths were able to rework iron into high-quality steel and make sword blades with a core of softer steel for flexibility and harder steel on the exterior to keep a sharp edge, far finer weapons than those used in the Roman army at the time." [68] (#cite_note-FOOTNOTEWaldmanMason2006324-81) ^ (#cite_ref-84) "Furthermore, the skills of Germanic smiths and other craftsmen were as good as, or better than those found inside the Roman empire." [69] (#cite_note-FOOTNOTEMacDowall200016-83) ^ (#cite_ref-86) This and the following information is based on P.J. Geary, Before France and Germany. The Creation and Transformation of the Merovingian World (New York: Oxford University Press, 1988), 44 ff. and M. Innes, Introduction to Early Medieval Western Europe, 300–900 (Abingdon 2007), 71–72. ^ (#cite_ref-90) "[T]hey allowed import of no wine or other luxury goods, because they thought these things weakned spirits and diminshed courage..." [73] (#cite_note-FOOTNOTECaesar201951,_2.15-89) ^ (#cite_ref-92) "They do not let wine be imported to them, for they think it softens men for hard work and makes them womanly." [74] (#cite_note-FOOTNOTECaesar201951,_4.2-91) ^ (#cite_ref-116) See: Young, Bruce W. (2008). Family Life in the Age of Shakespeare . Greenwood Press, pp. 16–17. ^ (#cite_ref-140) "In Germany...the first need was to detach prehistoric studies from the political influences of the pre-war period. German archaeologists, like their Scandinavian colleagues though sometimes for different reasons, have had to make do with very slender financial resources." [120] (#cite_note-FOOTNOTEOxenstierna19673-139) ^ (#cite_ref-142) "Archaeological attempts to assign an identity to the Germani have been consciously avoided since the end of the Second World War." [121] (#cite_note-FOOTNOTEClay2008146-141) ^ a b "Modern approaches to the problem of German origins have to a large extent been governed by shifts in political feeling... In the early 1960s, Germanic origins came under intense examination from linguists as well as archaeologists. Long-held notions about the separateness of the Germans were seriously challenged. The spread of Germanic peoples from a northern heart-land was brought into question and the creation of a Germanic identity was linked with the advance of Roman power to the Rhine and Danube. The reaction against extreme nationalism had gone too far. In the 1980s the pendulum began a backward swing. Once again, arguments which trace the origin of the Germanic peoples to a remote period of European prehistory, to the later Neolithic, are heard... It is possible to accept that the ancestors of the Germans known to our earliest surviving historical accounts can be traced back to the mid-first millennium bc..." [128] (#cite_note-FOOTNOTETodd20049–11-154) ^ a b "Walter Pohl, had a completely closed mind to any view that admitted that these northern gentes had genuine histories and traditions of their own. Not content to demolish the view that these tribes were essentially racial organizations, they relied on sociological theory that ethnicity is nothing more than a negotiated system of social classification, and that ethnic differences are "situational," to deny these peoples any institutions and values of their own, and so to reduce their contribution to medieval Europe to nothing at all. Such dogmatism is easily explained as a reaction to Nazi racism but it is nevertheless extraordinarily one-sided." [124] (#cite_note-FOOTNOTELiebeschuetz2015xxi-147) ^ (#cite_ref-149) "After the 1939–45 war, it was obvious to nearly every one that racialism was not only immoral but also based on pseudo-science. There was a reaction, which resulted among other things in a revision of views about the early Germans... [R]evisionism continues. A younger generation has now appeared, and taken the argument further... They use a sociological model which implies that social groups are infinitely flexible, and can be transformed more or less at will... This view is represented in a series of papers edited by Andrew Gillett and published in 2002. The collection presents a highly intelligent systematic deconstruction of the picture constructed by scholarship since the early 19th century, i.e., criticising even Wenskus and his school as crypto-nationalists. The argument of these, on the whole younger, scholars is that there was no coreculture— either of the Germani as a whole, or even of the separate Germanic tribes. They assert that if we know practically nothing about any of these peoples before they entered the Roman empire, that is because they did not know anything themselves... Those 'Germanic' customs which we know the Germans acquired in the empire, and from the Romans. We cannot therefore identify any specifically Germanic contribution to the post-Roman world." [125] (#cite_note-FOOTNOTELiebeschuetz201587-90-148) ^ (#cite_ref-Liebeschuetz_xxv_151-0) "Chapter 6 reviews the debate on the nature of the Germanic tribes that established kingdoms in the provinces of the Empire. It argues that these people did indeed possess both core traditions and a sense of shared identity, and that these had evolved well before their entry into the Roman world." [126] (#cite_note-FOOTNOTELiebeschuetz2015xxv-150) ^ (#cite_ref-153) ""[C]ontinuous transformation is not incompatible with the possession of core-traditions. The various Germanic tribes possessed such traditions, and these tradition made it possible for these groups to function as effective units, and to survive from generation to generation. Some traditions, especially language, all the tribes had in common... In my opinion the arguments of opponents of the Traditionskern theory are flawed because they depend on a dogmatic and selective use of the evidence... To demolish the view that the Dark Age tribes had an identity based on ethnic core-traditions, the authors of the Gillett volume devote a great deal of energy to disqualifying the scholarship of earlier generations as distorted by mainly nationalist ideology. Yet they show no awareness that their own positions are very strongly ideological, deriving from the rejection of nationalism and the acceptance of multiculturalism, that are conspicuous features of current western values, and which find practical expression, among other things, in the downgrading of national patriotism in the interest of the European ideal." [127] (#cite_note-FOOTNOTELiebeschuetz201599-100-152) References [ edit ] Citations [ edit ] ^ (#cite_ref-1) Kinder, Hermann (1988), Penguin Atlas of World History , vol. 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(#cite_ref-FOOTNOTEJansen2011242–249_134-0) Jansen 2011 (#CITEREFJansen2011) , pp. 242–249. ^ (#cite_ref-FOOTNOTEMosse196467–87_135-0) Mosse 1964 (#CITEREFMosse1964) , pp. 67–87. ^ (#cite_ref-FOOTNOTEMosse1964218–225_136-0) Mosse 1964 (#CITEREFMosse1964) , pp. 218–225. ^ (#cite_ref-FOOTNOTESmith198997–111_137-0) Smith 1989 (#CITEREFSmith1989) , pp. 97–111. ^ (#cite_ref-FOOTNOTEDerry201227,_220,_238–248_138-0) Derry 2012 (#CITEREFDerry2012) , pp. 27, 220, 238–248. ^ (#cite_ref-FOOTNOTEOxenstierna19673_139-0) Oxenstierna 1967 (#CITEREFOxenstierna1967) , p. 3. ^ (#cite_ref-FOOTNOTEClay2008146_141-0) Clay 2008 (#CITEREFClay2008) , p. 146. ^ (#cite_ref-FOOTNOTELiebeschuetz2015314_144-0) Liebeschuetz 2015 (#CITEREFLiebeschuetz2015) , p. 314. ^ (#cite_ref-FOOTNOTEWolfram199712_146-0) Wolfram 1997 (#CITEREFWolfram1997) , p. 12. ^ (#cite_ref-FOOTNOTELiebeschuetz2015xxi_147-0) Liebeschuetz 2015 (#CITEREFLiebeschuetz2015) , p. xxi. ^ (#cite_ref-FOOTNOTELiebeschuetz201587-90_148-0) Liebeschuetz 2015 (#CITEREFLiebeschuetz2015) , p. 87-90. ^ (#cite_ref-FOOTNOTELiebeschuetz2015xxv_150-0) Liebeschuetz 2015 (#CITEREFLiebeschuetz2015) , p. xxv. ^ (#cite_ref-FOOTNOTELiebeschuetz201599-100_152-0) Liebeschuetz 2015 (#CITEREFLiebeschuetz2015) , p. 99-100. ^ (#cite_ref-FOOTNOTETodd20049–11_154-0) Todd 2004 (#CITEREFTodd2004) , pp. 9–11. 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Rome and the Barbarians, 100 B.C.—A.D. 400 . Baltimore, MD: Johns Hopkins University Press. ISBN (/wiki/ISBN_(identifier)) 978-0-8018-7306-5 . Bury, J. B. (1928). The Invasion of Europe by the Barbarians . New York: W.W. Norton & Company. ISBN (/wiki/ISBN_(identifier)) 978-0-393-00388-8 . Caesar, Julius (2019). The War for Gaul: A New Translation . Translated by James O'Donnell. Princeton and Oxford: Princeton University Press. ISBN (/wiki/ISBN_(identifier)) 978-0-69117-492-1 . Cameron, Averil (1997). "Cult and Worship in East and West". In Leslie Webster (/wiki/Leslie_Webster_(art_historian)) ; Michelle Brown (/wiki/Michelle_P._Brown) (eds.). The Transformation of the Roman World, AD 400–900 . London: British Museum Press. ISBN (/wiki/ISBN_(identifier)) 978-0-7141-0585-7 . Chisholm, Hugh (/wiki/Hugh_Chisholm) , ed. (1911). "Philology" (https://en.wikisource.org/wiki/1911_Encyclop%C3%A6dia_Britannica/Philology) . Encyclopædia Britannica (/wiki/Encyclop%C3%A6dia_Britannica_Eleventh_Edition) . Vol. 21 (11th ed.). Cambridge University Press. pp. 414–438. Classification....1. Indo-European (Indo-Germanic) Family. Clay, Cheryl Louise (2008). "Developing the 'Germani' in Roman Studies" (https://doi.org/10.16995%2FTRAC2007_131_150) . Theoretical Roman Archaeology Journal (/wiki/Theoretical_Roman_Archaeology_Journal) . 1 (2007). Open Library of Humanities (/wiki/Open_Library_of_Humanities) : 131–150. doi (/wiki/Doi_(identifier)) : 10.16995/TRAC2007_131_150 (https://doi.org/10.16995%2FTRAC2007_131_150) . Dalby, Andrew (1999). Dictionary of Languages . New York: Columbia University Press. ISBN (/wiki/ISBN_(identifier)) 978-0-231-11568-1 . Derry, T.K. (2012). A History of Scandinavia: Norway, Sweden, Denmark, Finland, Iceland . Minneapolis and London: University of Minnesota Press. ISBN (/wiki/ISBN_(identifier)) 978-0-8166-3799-7 . Drinkwater, John F. (2007). Alamanni and Rome 213–496: Caracalla to Clovis . Oxford and New York: Oxford University Press. ISBN (/wiki/ISBN_(identifier)) 978-0-19-929568-5 . Eliade, Mircea (1984). A History of Religious Ideas (vol. II): From Gautama Buddha to the Triumph of Christianity . Chicago and London: University of Chicago Press. ISBN (/wiki/ISBN_(identifier)) 0-226-20403-0 . Ewing, Thor (2008). Gods and Worshippers in the Viking and Germanic World . Stroud, UK: The History Press. ISBN (/wiki/ISBN_(identifier)) 978-0-7524-3590-9 . Frassetto, Michael (2003). Encyclopedia of Barbarian Europe: Society in Transformation . Santa Barbara, CA: ABC-CLIO. ISBN (/wiki/ISBN_(identifier)) 978-1-57607-263-9 . Geary, Patrick J. (1988). Before France and Germany: The Creation & Transformation of the Merovingian World . Oxford and New York: Oxford University Press. ISBN (/wiki/ISBN_(identifier)) 978-0-19504-458-4 . Geary, Patrick J. (1999). "Barbarians and Ethnicity" (https://archive.org/details/lateantiquitygui00bowe) . In G.W. Bowersock; Peter Brown; Oleg Grabar (eds.). Late Antiquity: A Guide to the Postclassical World . Cambridge, Massachusetts: The Belknap Press of Harvard University Press. ISBN (/wiki/ISBN_(identifier)) 978-0-674-51173-6 . "Germanic peoples" (https://www.britannica.com/topic/Germanic-peoples) . Encyclopædia Britannica . Retrieved 11 July 2018 . Golther, Wolfgang (1908). Handbuch der Germanischen Mythologie (in German). Stuttgart: Magnus-Verlag. Grancsay, Stephen Vincent. "Metalwork: Teutonic Tribes" (https://www.britannica.com/topic/metalwork/Middle-Ages-Byzantine-Empire) . Encyclopædia Britannica (/wiki/Encyclop%C3%A6dia_Britannica) . Retrieved 8 September 2019 . Green, Dennis Howard; Siegmund, Frank (2003). The Continental Saxons from the Migration Period to the Tenth Century: An Ethnographic Perspective . Boydell Press. ISBN (/wiki/ISBN_(identifier)) 978-1-84383-026-9 . Hachmann, Rolf; Kossack, Georg; Kuhn, Hans (1962). Völker zwischen Germanen und Kelten (in German). Neumünster: K. Wachholtz. Halsall, Maureen (1981). The Old English Rune Poem: A Critical Edition . Toronto and Buffalo: University of Toronto Press. ISBN (/wiki/ISBN_(identifier)) 978-0-8020-5477-7 . Heather, Peter John (/wiki/Peter_Heather) . "Germany: Ancient History" (https://www.britannica.com/place/Germany/History) . Encyclopædia Britannica (/wiki/Encyclop%C3%A6dia_Britannica) . Retrieved 12 July 2018 . Heather, Peter (2003). The Visigoths from the Migration Period to the Seventh Century: An Ethnographic Perspective . Rochester, NY: Boydell Press. ISBN (/wiki/ISBN_(identifier)) 978-1-84383-033-7 . Herlihy, David (1985). Medieval Households . Cambridge, Massachusetts: Harvard University Press. ISBN (/wiki/ISBN_(identifier)) 978-0-674-56376-6 . Jansen, Christian (2011). "The Formation of German Nationalism, 1740–1850". In Helmut Walser Smith (ed.). The Oxford Handbook of Modern German History . Oxford and New York: Oxford University Press. ISBN (/wiki/ISBN_(identifier)) 978-0-19-923739-5 . Josephus, Titus Flavius (/wiki/Josephus) (1833). Early Germans . Kimber & Sharpless. Kendrick, T.D. (2013) [1930]. A History of the Vikings . New York: Fall River Press. ISBN (/wiki/ISBN_(identifier)) 978-1-43514-641-9 . Kishlansky, Mark; Geary, Patrick; O'Brien, Patricia (2008). Civilization in the West . New York: Pearson Longman. ISBN (/wiki/ISBN_(identifier)) 978-0-205-55684-7 . Kramer, Lloyd; Maza, Sarah (2002). A Companion to Western Historical Thought . Malden, MA: Wiley-Blackwell. ISBN (/wiki/ISBN_(identifier)) 978-0-631-21714-5 . Kristinsson, Axel (2010). Expansions: Competition and Conquest in Europe Since the Bronze Age . ReykjavíkurAkademían. ISBN (/wiki/ISBN_(identifier)) 978-9979992219 . Levison, Wilhelm. Vitae Sancti Bonifatii archiepiscopi moguntini . Hannover: Hahn Verlag, 1905. Liebeschuetz, J.H.W.F. (/wiki/Wolf_Liebeschuetz) (2015). East and West in Late Antiquity: Invasion, Settlement, Ethnogenesis and Conflicts of Religion . BRILL (/wiki/Brill_Publishers) . ISBN (/wiki/ISBN_(identifier)) 9789004289529 . MacDowall, Simon (2000). Germanic Warrior 236-568 AD . Bloomsbury USA (/wiki/Bloomsbury_Publishing) . ISBN (/wiki/ISBN_(identifier)) 1841761524 . Manco, Jean (2013). Ancestral Journeys: The Peopling of Europe from the First Venturers to the Vikings . New York: Thames & Hudson. ISBN (/wiki/ISBN_(identifier)) 978-0-500-05178-8 . McDonald, J.D. (2005). "Y Haplogroups of the World (PDF map)" (https://web.archive.org/web/20131211101657/http://www.scs.illinois.edu/~mcdonald/WorldHaplogroupsMaps.pdf) (PDF) . University of Illinois . Archived from the original (http://www.scs.illinois.edu/~mcdonald/WorldHaplogroupsMaps.pdf) (PDF) on 11 December 2013 . Retrieved 22 April 2015 . McGrath, Alister (2015). Christianity: An Introduction . Malden, MA: Wiley-Blackwell. ISBN (/wiki/ISBN_(identifier)) 978-1-118-46565-3 . McKitterick, Rosamond (2008). Charlemagne: The Formation of a European Identity . New York: Cambridge University Press. ISBN (/wiki/ISBN_(identifier)) 978-0-521-71645-1 . Mjöberg, Johan (1980). "Romanticism and Revival". In David Wilson (ed.). The Northern World . London: Thames and Hudson. ISBN (/wiki/ISBN_(identifier)) 978-0-500-28430-8 . Moltke, Erik. Runes and Their Origin: Denmark and Elsewhere . Copenhagen: Nationalmuseets Forlag, 1985. ISBN (/wiki/ISBN_(identifier)) 87-480-0578-9 (/wiki/Special:BookSources/87-480-0578-9) Morgan, Kenneth (2001). The Oxford History of Britain . Oxford and New York: Oxford University Press. ISBN (/wiki/ISBN_(identifier)) 978-0-19-280135-7 . Mosse, George (1964). The Crisis of German Ideology: Intellectual Origins of the Third Reich . New York: Grosset & Dunlap. ASIN (/wiki/ASIN_(identifier)) B000W259Y8 (https://www.amazon.com/dp/B000W259Y8) . Murray, Alexander C. (1983). Germanic Kinship Structure: Studies in Law and Societies in Antiquity and the Early Middle Ages . Toronto: Pontifical Institute of Mediaeval Studies. ISBN (/wiki/ISBN_(identifier)) 978-0-88844-065-5 . Musset, Lucien (1993). The Germanic Invasions, the Making of Europe 400–600 AD . New York: Barnes & Noble. ISBN (/wiki/ISBN_(identifier)) 1-56619-326-5 . Oliver, Lisi (2011). The Body Legal in Barbarian Law . Toronto: University of Toronto. ISBN (/wiki/ISBN_(identifier)) 978-0-8020-9706-4 . Osborne, Roger (2008). Civilization: A New History of the Western World . New York: Pegasus Books. ISBN (/wiki/ISBN_(identifier)) 978-1-933648-76-7 . Owen, Francis (/wiki/Francis_Owen_(philologist)) (1960). The Germanic People . New York: Bookman Associates. Oxenstierna, Eric (/wiki/Eric_Oxenstierna) (1967). The World of the Norsemen . Nordgermanen.English. London: Weidenfeld & Nicolson (/wiki/Weidenfeld_%26_Nicolson) . Ostler, Nicholas (2006). Empires of the Word: A Language History of the World . New York: Harper Perennial. ISBN (/wiki/ISBN_(identifier)) 978-0-06-093572-6 . Pasley, Malcolm (/wiki/Malcolm_Pasley) ; Bithell, Jethro (/wiki/Jethro_Bithell) (1972). Germany: a companion to German studies . Methuen (/wiki/Methuen_Publishing) . ISBN (/wiki/ISBN_(identifier)) 1438129181 . Petit, Paul (/wiki/Paul_Petit_(historian)) ; MacMullen, Ramsay (/wiki/Ramsay_MacMullen) . "Ancient Rome: The Barbarian Invasions" (https://www.britannica.com/place/ancient-Rome/The-Later-Roman-Empire#ref26693) . Encyclopædia Britannica (/wiki/Encyclop%C3%A6dia_Britannica) . Retrieved 12 July 2018 . Pohl, Walter (1997). "The Barbarian Successor States". In Leslie Webster (/wiki/Leslie_Webster_(art_historian)) ; Michelle Brown (/wiki/Michelle_P._Brown) (eds.). The Transformation of the Roman World, AD 400–900 . London: British Museum Press. ISBN (/wiki/ISBN_(identifier)) 978-0-7141-0585-7 . Price, Arnold H. (1965). "The Germanic Forest Taboo and Economic Growth". Vierteljahrshefte für Sozial-und Wirtschaftsgeschichte . 52 (3): 368–378. JSTOR (/wiki/JSTOR_(identifier)) 20729190 (https://www.jstor.org/stable/20729190) . Ringe, Don. A Linguistic History of English: From Proto-Indo-European to Proto-Germanic . New York: Oxford University Press, 2006. ISBN (/wiki/ISBN_(identifier)) 978-0-19-955229-0 (/wiki/Special:BookSources/978-0-19-955229-0) Robinson, Orrin (1992). Old English and its Closest Relatives: A Survey of the Earliest Germanic Languages . London: Routledge. ISBN (/wiki/ISBN_(identifier)) 978-0-8047-1454-9 . Santosuo, Antonio (2004). Barbarians, Marauders, and Infidels: The Ways of Medieval Warfare . New York: MJF Books. ISBN (/wiki/ISBN_(identifier)) 978-1-56731-891-3 . Smith, Woodruff D. (1989). The Ideological Origins of Nazi Imperialism . New York: Oxford University Press. ISBN (/wiki/ISBN_(identifier)) 978-0-19-504741-7 . Stein, Peter G. (/wiki/Peter_Stein_(legal_scholar)) ; Glendon, Mary Ann (/wiki/Mary_Ann_Glendon) . "Germanic law" (https://www.britannica.com/topic/Germanic-law) . Encyclopædia Britannica (/wiki/Encyclop%C3%A6dia_Britannica) . Retrieved 8 September 2019 . Strauss, Gerald (1963). Historian in an Age of Crisis. The Life and Work of Johannes Aventinus, 1477–1534 . Cambridge, Massachusetts: Harvard University Press. ASIN (/wiki/ASIN_(identifier)) B0000CLVQC (https://www.amazon.com/dp/B0000CLVQC) . Tacitus, Cornelius (2009). Agricola and Germany . Translated by Anthony R. Birley. New York: Oxford University Press. ISBN (/wiki/ISBN_(identifier)) 978-0-19953-926-0 . Todd, Malcolm (/wiki/Malcolm_Todd) (2004). The Early Germans . Blackwell Publishing (/wiki/Wiley-Blackwell) . ISBN (/wiki/ISBN_(identifier)) 1-4051-1714-1 . Turville-Petre, E.O.G (/wiki/Gabriel_Turville-Petre) ; Polomé, Edgar Charles (/wiki/Edgar_Charles_Polom%C3%A9) . "Germanic religion and mythology" (https://www.britannica.com/topic/Germanic-religion-and-mythology) . Encyclopædia Britannica (/wiki/Encyclop%C3%A6dia_Britannica) . Retrieved 12 July 2018 . Waldman, Carl; Mason, Catherine (2006). Encyclopedia of European Peoples . New York: Facts on File. ISBN (/wiki/ISBN_(identifier)) 978-0-8160-4964-6 . Ward-Perkins, Bryan (2005). The Fall of Rome: And the End of Civilization . New York: Oxford University Press. ISBN (/wiki/ISBN_(identifier)) 978-0-19-280728-1 . Wightman, Edith Mary (1985). Gallia Belgica . Berkeley and Los Angeles: University of California Press. ISBN (/wiki/ISBN_(identifier)) 978-0-520-05297-0 . Williams, Derek (1998). Romans and Barbarians . New York: St. Martin's Press. ISBN (/wiki/ISBN_(identifier)) 0-312-19958-9 . Wilson, Derek (2005). Charlemagne: A Biography . New York: Vintage Books. ISBN (/wiki/ISBN_(identifier)) 978-0-307-27480-9 . Winkler, Martin M. (2016). Arminius the Liberator: Myth and Ideology . Oxford University Press (/wiki/Oxford_University_Press) . ISBN (/wiki/ISBN_(identifier)) 978-0190252915 . Wolfram, Herwig (1997). The Roman Empire and its Germanic Peoples . Berkeley and Los Angeles: University of California Press. ISBN (/wiki/ISBN_(identifier)) 0-520-08511-6 . Further reading [ edit ] Fleming von Sweringen, Grace (October 1909). "Women in the Germanic Hero-Sagas". Journal of English and Germanic Philology (/wiki/Journal_of_English_and_Germanic_Philology) . 8 (4). University of Illinois Press (/wiki/University_of_Illinois_Press) : 501–512. JSTOR (/wiki/JSTOR_(identifier)) 27699995 (https://www.jstor.org/stable/27699995) . Green, D. H. (/wiki/Dennis_Howard_Green) (2004). Language and History in the Early Germanic World . Cambridge University Press (/wiki/Cambridge_University_Press) . ISBN (/wiki/ISBN_(identifier)) 0521794234 . Gummere, Francis Barton (/wiki/Francis_Barton_Gummere) (1892). Germanic Origins: A Study in Primitive Culture . D. Nutt (/wiki/David_Nutt_(publisher)) . ISBN (/wiki/ISBN_(identifier)) 9780521794237 . Hachmann, Rolf (/wiki/Rolf_Hachmann) (1971). The Germanic peoples . Barrie and Jenkins (/wiki/Barrie_%26_Jenkins) . ISBN (/wiki/ISBN_(identifier)) 9780214652189 . Hinds, Kathryn (2010). Early Germans . Marshall Cavendish (/wiki/Marshall_Cavendish) . ISBN (/wiki/ISBN_(identifier)) 978-0761445159 . Krüger, Bruno (https://de.wikipedia.org/wiki/Bruno_Kr%C3%BCger) [in German] . Die Germanen [ The Germanic Peoples ] (in German). Vol. 1. Akad.-Verlag (/wiki/Akademie_Verlag) . ISBN (/wiki/ISBN_(identifier)) 978-0761445159 . Murdoch, Brian (/wiki/Brian_O._Murdoch) (1996). The Germanic Hero: Politics and Pragmatism in Early Medieval Poetry . A & C Black (/wiki/A_%26_C_Black) . ISBN (/wiki/ISBN_(identifier)) 1441174656 . Thompson, E. A. (/wiki/Edward_Arthur_Thompson) (1965). The Early Germans . Clarendon Press (/wiki/Clarendon_Press) . ISBN (/wiki/ISBN_(identifier)) 9780198142522 . Todd, Malcolm (/wiki/Malcolm_Todd) (1975). The Northern Barbarians, 100 B.C.-A.D. 300 . Hutchinson (/wiki/Hutchinson_(publisher)) . ISBN (/wiki/ISBN_(identifier)) 0091222206 . Wobrey, William; Murdoch, Brian (/wiki/Brian_O._Murdoch) ; Hardin, James N.; Read, Malcolm Kevin (2004). Early Germanic Literature and Culture . Boydell & Brewer (/wiki/Boydell_%26_Brewer) . ISBN (/wiki/ISBN_(identifier)) 157113199X . "A Comparative Grammar of the Early Germanic Languages" (https://archive.org/details/a-comparitive-grammar-of-early-germanic-languages) . Nelson Goering . English Studies, 102:1, 144-153. v t e Germanic peoples (/wiki/Germanic_peoples) Ethnolinguistic group (/wiki/Ethnolinguistic_group) of Northern European (/wiki/Northern_Europe) origin primarily identified as speakers of Germanic languages (/wiki/Germanic_languages) History Nordic Bronze Age (/wiki/Nordic_Bronze_Age) Pre-Roman Iron Age (/wiki/Pre-Roman_Iron_Age) Roman Iron Age (/wiki/Roman_Iron_Age) Germanic Iron Age (/wiki/Germanic_Iron_Age) Viking Age (/wiki/Viking_Age) Early culture Architecture (/wiki/Early_Germanic_architecture) Art (/wiki/Migration_Period_art) Calendar (/wiki/Early_Germanic_calendars) Clothing (/wiki/Early_Germanic_clothing) Family (/wiki/Family_in_early_Germanic_culture) Festivals (/wiki/Early_Germanic_festivals) Folklore (/wiki/Germanic_mythology) Proto-Germanic folklore (/wiki/Proto-Germanic_folklore) Anglo-Saxon mythology (/wiki/Anglo-Saxon_mythology) Continental Germanic mythology (/wiki/Continental_Germanic_mythology) Norse mythology (/wiki/Norse_mythology) ) Funerary practices (/wiki/Early_Germanic_funerary_practices) Anglo-Saxon (/wiki/Anglo-Saxon_burial_mounds) Norse (/wiki/Norse_funeral) Law (/wiki/Germanic_law) Anglo-Saxon (/wiki/Anglo-Saxon_law) Norse (/wiki/Medieval_Scandinavian_law) Literature (/wiki/Early_Germanic_literature) Anglo-Saxon (/wiki/Old_English_literature) Norse (/wiki/Old_Norse_literature) Names (/wiki/Germanic_name) Gothic (/wiki/Gothic_name) Numbers (/wiki/Numbers_in_Germanic_paganism) Paganism (/wiki/Germanic_paganism) Anglo-Saxon (/wiki/Anglo-Saxon_paganism) Gothic (/wiki/Gothic_paganism) Norse (/wiki/Old_Norse_religion) Rings (/wiki/Rings_in_Germanic_paganism) Scripts (#Scripts) Gothic alphabet (/wiki/Gothic_alphabet) Runes (/wiki/Runes) Symbology (/wiki/Early_Germanic_symbols) Warfare (/wiki/Early_Germanic_warfare) Anglo-Saxon (/wiki/Anglo-Saxon_warfare) Gothic and Vandal (/wiki/Gothic_and_Vandal_warfare) Viking (/wiki/Viking_raid_warfare_and_tactics) Languages (/wiki/Germanic_languages) Germanic parent 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International Talent Support (ITS) is a platform created to give support and visibility to young talents in the field of fashion design, design of accessories and jewelry. The most artistic-oriented designers are also challenged with ITS Artwork, a purely artistic contest. [1] (#cite_note-1) [2] (#cite_note-2) The 16th edition which will be held once again in Trieste on 27 June 2018. Barbara Franchin holding the heart trophy at ITS 2015 Contestants are selected from more than 80 countries around the world. After this selection process, they are invited to Trieste to present their works and are evaluated by a special jury that awards the prizes in the competition. [3] (#cite_note-3) [4] (#cite_note-4) ITS is not just a contest, it includes a Creative Archive showcasing projects of the past finalists: a collection of 16,000 portfolios, 220 dresses, 80 jewelry pieces and 120 accessories, and more than 700 digital photo projects. In addition, it produces a yearly trends report "The Seismographer" and has built a wide network made up of designers, journalists, opinion leaders, design teachers, head hunters, heads of studio and more. The platform was founded and is directed by Barbara Franchin (/wiki/Barbara_Franchin) . [5] (#cite_note-5) Here are some of the past ITS jurors: [6] (#cite_note-6) the performance artist Marina Abramovic (/wiki/Marina_Abramovi%C4%87) , photographers Nick Knight (/wiki/Nick_Knight_(photographer)) , Ari Marcopoulos and Sarah Moon, the Editor in Chief of Vogue Italy (/wiki/Vogue_Italia) Franca Sozzani (/wiki/Franca_Sozzani) , the founder of Business of Fashion Imran Amed, the former head curator of the Costume Institute at the Metropolitan Museum (/wiki/Metropolitan_Museum_of_Art) in New York Harold Koda (/wiki/Harold_Koda) the singer-songwriter Mika (/wiki/Mika_(singer)) and designers such as Raf Simons (/wiki/Raf_Simons) , Viktor & Rolf (/wiki/Viktor_%26_Rolf) , Consuelo Castiglioni, Manish Arora as well as journalists like Hilary Alexander, Angelo Flaccavento and Cathy Horyn. Many past finalists hold key positions in the fashion industry, like Demna Gvasalia (/wiki/Demna_Gvasalia) (Creative Director Balenciaga (/wiki/Balenciaga) & founder Vetements (/wiki/Vetements) ), Aitor Throup (/wiki/Aitor_Throup) (Executive Creative Director G-Star Raw (/wiki/G-Star_Raw) ) and Peter Pilotto (eponymous line). ITS 2016 [ edit ] 2016 marked the fifteenth birthday of ITS, an anniversary edition that welcomed in the jury Demna Gvasalia (/wiki/Demna_Gvasalia) (founder and artistic director of Vetements and artistic director of Balenciaga (/wiki/Balenciaga) ), designer Iris Van Herpen (/wiki/Iris_van_Herpen) and AltaRoma President Silvia Venturini Fendi, while the theme of the event was “Utopia. Winners [ edit ] Mayako Kano, ITS Fashion Award in partnership with OTB Niels Gundtoft Hansen & Anna Bornhold, OTB (/wiki/OTB_Group) Award Helen Kirkum, ITS Accessories Award in partnership with YKK [7] (#cite_note-:0-7) Young Jin Jang, YKK (/wiki/YKK) Award Marco Baitella, ITS Artwork Award in partnership with Swatch Jana Zornik, Swatch (/wiki/Swatch) Award Hazuki Katagai, Swatch Art Peace Hotel Award Sari Rathel, ITS Jewelry Award in partnership with Swarovski Tatiana Lobanova, Swarovski (/wiki/Swarovski) Award Justin Smith, Generali (/wiki/Assicurazioni_Generali) Future Award Anna Bornhold, Modateca Deanna Award Helen Kirkum, Vogue (/wiki/Vogue_(magazine)) Talents Award ITS 2015 [ edit ] The jury for this edition featured, among others, Massimo Giorgetti (Founder and Creative Director of MSGM), Carlo Capasa (/wiki/Carlo_Capasa) (President of the National Chamber of Italian Fashion (/wiki/National_Chamber_of_Italian_Fashion) ) and Oriole Cullen (Acting Senior Curator of Contemporary Fashion, Victoria & Albert Museum (/wiki/Victoria_and_Albert_Museum) ). Aitor Throup, a finalist in 2006, received a lifetime achievement award. The concept for this edition was "THE FUTURE". Winners [ edit ] Paula Knorr, ITS Fashion Award in partnership with OTB Yuko Koike, OTB Award and Modateca Deanna Award Jenifer Thévenaz-Burdet, Eyes on Talents Award Elina Määttänen, Vogue Talents Award Isabel Helf, ITS Accessories Award in partnership with YKK [7] (#cite_note-:0-7) Bianca Chong, YKK Fastening Award Hiroki Kataoka, ITS Artwork Award in partnership with Swatch Shay Tako, Swatch Award Alexis Gautier, Swatch Art Peace Hotel Award In Wai Kwok, ITS Jewelry Award in partnership with Swarovski (/wiki/Swarovski) Kota Okuda, ITS Jewelry Award in partnership with Swarovski (/wiki/Swarovski) Yun Sun Jang, Swarovski (/wiki/Swarovski) Award Yang Wang, Samsung (/wiki/Samsung) Galaxy Award Aitor Throup, Generali (/wiki/Assicurazioni_Generali) Special Award ITS 2014 [ edit ] Consuelo Castiglioni (MARNI), Nick Knight, Nicholas Kirkwood and pop star Mika (in the jury for the new ITS ARTWORK contest) were among the jurors. On July 12, the day of the final evening, the event reached the 9th position as a global trending topic on social networks. CNN (/wiki/CNN) [4] and France 2 covered the event. The concept for this edition was "Lucid Dreams" Winners [ edit ] Katherine Roberts-Wood, Fashion Collection of the Year and Vogue Talents Award for fashion Zoe Waters, Diesel Award Anita Hirlekar, Fashion Special Prize Natalija Mencej, Camera Nazionale della Moda Italiana Award Yasuto Kimura, Showstudio Prize Anna Bornhold, Modateca Award Mirja Pitkaart, Accessories Collection of the Year Takafumi Arai, YKK Special Award Ivana Damjanovic, YKK Award and Eyes on Talents Award Maiko Takeda, Vogue Talents Award for accessories Virginia Burlina, Swatch Award Noriko Nakazato, Swarovski Jewelry Award Lior Shulak, Swarovski Jewelry Award Leonie Barth, Samsung GALAXY Award ITS 2013 [ edit ] ITS becomes even more present on social with the launch of a live feed that collects any ITS related content. Nicola Formichetti, Carla Sozzani (/wiki/Carla_Sozzani) and Yasuhiro Mihara were among the jurors. This edition was characterized by the concept "The Physics of Creativity". Winners [ edit ] Han Chul Lee, Fashion Collection of the Year and Vogue Talents Award Xiao Li, Diesel Award Tomohiro Sato, Fashion Special Prize and Modateca Award Nelly Hoffmann, Yoox.com Award Felix Chabluk Smith, Business of Fashion Award Leonard Kahlcke, Accessories Collection of the Year Percy Lau, YKK Award Cat Potter, Eyes on Talents Award Youngwon Kim, Vogue Talents Award for Accessories Lili Colley, Swarovski Elements Jewelry Award Milko Boyarov, Swatch Award ITS 2012 [ edit ] In 2012, the performance artist Marina Abramovic was in the fashion competition jury with Renzo Rosso (/wiki/Renzo_Rosso) and the fashion blogger Susie Bubble. The jury also featured two past finalists, Aitor Throup and Mark Fast, both of whom have since become famous for their respective fashion lines. This edition's concept played with two extremes, "Good or Evil". Winners [ edit ] Ichiro Suzuki, Fashion Collection of the Year Marius Janusauskas, Diesel Award and D-La Repubblica Award Luke Brooks, Fashion Special Prize Mark Goldenberg, Avery Dennison Brand Innovation Award and Vogue Talents Award for fashion Isabel Vollrath, Saturday Night Fever Award Shengwei Wang, Modateca Award Ana Rajcevic, Accessories Collection of the Year Benjamin John Hall, YKK Award Victoria Spruce, Vogue Talents Award for accessories Xiao Zi Yang, Swarovski Elements Jewelry Award ITS#TEN [ edit ] The 2011 edition marked the contest's 10th anniversary, with a jury that included Hilary Alexander, the Academy Award for Photography Dante Spinotti and featured the return of Viktor & Rolf. It was the year of the launch of ITS JEWELRY, the competition devoted entirely to jewelry. Shaun Samson, the winner of the Fashion Collection of the Year, participated in the London Fashion Week with his fashion line a short while later. Winners [ edit ] Shaun Samson, Fashion Collection of the Year Niran Avisar, Diesel Award Kristian Guerra, Fashion Special Prize and D- La Repubblica (/wiki/La_Repubblica) Award Fah Chakshuvej, Maison Martin Margiela Award Ruth Green, Skunkfunk Sustainability Award Kevin Kramp, Modateca Award Oliver Ruuger, Accessories Collection of the Year Laura Amstein, YKK Award Anna Schwamborn, Modamont Award Sarah Vedel Hurtigkarl and Raluca Grada, Swarovski Elements Jewelry Award Nika Kupyrova, Disaronno Photo Award Gerardo Vizmanos, SVA PhotoGlobal Award ITS#NINE [ edit ] The designers Viktor & Rolf participated as first-time jurors and Nina Nitsche (Maison Martin Margiela) was also part of the jury. Shortly after the event, the winner of Accessories Collection of the Year Sarah Williams established a partnership with another Accessories finalist, Kirsty Ward, launching an exclusive line of custom made accessories. Winners [ edit ] Takashi Nishiyama, Fashion Collection of the Year Michael Kampe, Diesel Award Yong Kyun Shin, Fashion Special Prize Niels Peeraer, RA Award Sarah Williams, Accessories Collection of the Year and Absolut Award Emma Yeo, YKK Award Yuwen Lu, Modamont Award ITS#EIGHT [ edit ] Yuima Nakazato became the second finalist in the history of ITS to be selected for two different competitions in two different editions. The edition concept transformed ITS in the "Greatest Show of All", drawing inspiration from the touring circus shows of the early 20th century. Winners [ edit ] Mason Jung, Fashion Collection of the Year Yuima Nakazato, YKK Award Ali Forbes, Crystallized Accessories Award Chau Har Lee, Accessories Collection of the Year Elise Gettliffe, I-D Styling Award Alice Knackfuss, Diesel Award Masha Lamzina, Fashion Special Prize Michael Van Der Ham, Vertice Award Saana Wang, Mini Clubman Photo Award Silvia Noferi, Pitti Immagine Photo Award Monica Lozano Red, Air Dolomiti Photo Award Noemie Goudal, Pitti Immagine Photo Award Clare Bottomley, ITS Photoweb and SVA Photoglobal Award ITS#SEVEN [ edit ] Mark Fast's knitwear attracted everyone's attention, and was the prelude to a brand that received a lot of attention as a result of ITS. The finalists of the photography competition Mashid Mohadjerin won the World Press Photo award for a project that started immediately after ITS. Designer Gareth Pugh and photographer Sarah Moon were among the jurors. Winners [ edit ] Valentim Manuel Estevão Quaresma, Accessories Collection of the Year Benjamin Shun Lai Ng, YKK Award Tomasz Donocik, YKK Special Prize Elise Gettliffe, Fashion Special Prize Yuima Nakazato, Vertice Award Alithia Spuri-Zampetti, Maria Luisa Award Mark Fast, I-D Styling Award Heikki Salonen, Diesel Award David Steinhorst, Fashion Collection of the Year Mashid Mohadjerin, ITS Photoweb Debora Vrizzi, Pitti Immagine Photo Award Kazutaka Nagashima, Mini Clubman Photo Award Matthieu Lavanchy, SVA Photoglobal Award Venetia Dearden, Air Dolomiti Photo Award Martine Fougeron, Pitti Immagine Photo Award ITS#SIX [ edit ] The generation of young talents selected in 2007 featured many finalists that, following ITS, made a name for themselves thanks to their respective brands: Justin Smith, David Longshaw, Taro Horiuchi, Mareunrol, Ek Thongprasert, Heaven Tanudiredja (who was a finalist in both Fashion Accessories, anticipating the launch of her own line of jewelry). Winners [ edit ] Liron Braker, YKK Accessory Award Anna Sheldon, YKK Special Award Justin Smith, i-D Styling Award and Maria Luisa Award Susanne Happle, Accessories Collection of the Year Ek Thongprasert, Fashion Collection of the Year and Develon Award Migle Kacerauskiene, Fashion Special Prize Heaven Tanudiredja, Vertice Award Taro Horiuchi, Diesel Award Maria Giulia Giorgiani, Pitti Immagine Photo Award and Finalist Involved In The Mini Clubman Tour May Heek, SVA Photoglobal Award Jing Quek, MINI International Photo Award and Pitti Immagine Photo Award ITS#FIVE [ edit ] In 2006 the ITS ACCESSORIES contest was inaugurated. Aitor Throup was the revelation of the year with a menswear collection that redesigned the production processes. Franca Sozzani, Raf Simons and Cathy Horyn were on the jury. Winners [ edit ] Heather Blake, Accessories Collection of the Year Maria Hjelm, YKK Accessory Award Mikio Sakabe, Special Jury Prize Matthieu Blazy (/wiki/Matthieu_Blazy) , Maria Luisa Award Tamar Daniel (Schreiber), WGSN Best Portfolio Aitor Throup, Fashion Collection of the Year and I-D Styling Award and ITS 2015 Generali Special Award Daniel Ivarsson, Diesel Award Catherine Sundqvist, VMAN / V Magazine Award Remigiusz Pyrdol, MINI International Photo Award and Le Book Award and Stage Fabbrica ITS#FOUR [ edit ] Antonio Marras (/wiki/Antonio_Marras) , Boudicca and Antonio Berardi (/wiki/Antonio_Berardi) were on the jury. The ITS PHOTO contest was launched and its jury featured the founder of Visionaire Cecilia Dean. Christopher de Vos, who later worked for Vivienne Westwood before joining forces with Peter Pilotto's homonymous brand, was one of the finalists. Winners [ edit ] Christoph Froehlich, Diesel Award Eli Effenberger, Maria Luisa Award and Special Jury Prize Marga Weimans, I-D Styling Award Mie Albaek Nielsen and Caroline Hansen, Ingeo Sustainability Award Ryo Yamada, WGSN Best Portfolio Award Marcus Lereng Wilmont, Collection of the Year Danielle Mourning, MINI International Photo Award ITS#THREE [ edit ] Yoshikazu Yamagata was among the winners of 2004. He would later set up a school in Tokyo that would produce numerous ITS finalists. Peter Pilotto was among the finalists. In the following years he created the Peter Pilotto brand together with a 2005 finalist, Christopher de Vos. Raf Simons was in the jury together with Richard Buckley, Hilary Alexander and Ennio Capasa. Winners [ edit ] Iris Eibelwimmer, Maria Luisa Award Demna Gvasalia, Collection of the Year Peter Pilotto, Maria Luisa Award Takashi Sugioka, 3rd Jury Prize Steven Hoffman, 2nd Jury Prize Yoshikazu Yamagata, Special Prize, Ingeo Sustainability Award and WGSN Best Portfolio Lesley Mobo, Diesel Award ITS#TWO [ edit ] The winner Cathy Pill had the honour of being invited to present her collection during the Parisian fashion week, where she continued to present her brand for nearly a decade. Dombrovicz Laurent, Xavier Delcour and Jenny Meirens were some of the jurors. Fabrizio Talia, winner of the Best Womenswear Collection Award, later joined forces with Justin Smith – the two met in 2007 – for the launch of the project (Es) * Artisanal, chosen as a finalist in 2010. Winners [ edit ] Slobodan Mihajlović, Maria Luisa Award Cathy Pill, Collection of the Year Anne Ventzel, Best Menswear Collection Fabrizio Talia, Best Womenswear Collection Akihiro Kiuchi, Jury Prize Teppei Sugaya, Diesel Award ITS#ONE [ edit ] The jury of the first edition of the International Talent Support featured, among others, Isabella Blow, Editor in Chief of Nylon Magazine Marvin Jarrett, Director of i-D magazine Terry Jones and the Creative Director of Black Book Magazine Evan L.Schindler. Winners [ edit ] Anais Buscail and Vanessa Raveau, PlayStation Assaf Bitton, INTESABCI Award Bernadett Penkov, Dupont Total Look Céline Gautron, Dupont Shirt/Trousers Category Chu Po Ho, Dupont Knitwear Top Category Daniele Controversio, Collection of the Year and Dupont Trousers category Einav Zucker, Diesel Award Elisa Grazioli, PlayStation Erik Jan Frenken, Best Womenswear Collection Rianne Caminada, PlayStation Roel Ruyten, PlayStation Vishvajeet Dhir, Best Menswear Collection Goldy Serussi, Dupont Shirt/Trousers Category References [ edit ] ^ (#cite_ref-1) George Webster. "Trieste: Small Italian city that shapes your wardrobe" (http://www.cnn.com/2014/07/19/world/europe/international-talent-support-trieste/index.html) . CNN . Retrieved May 27, 2016 . ^ (#cite_ref-2) "Les talents ITS imaginent la mode du futur" (http://madame.lefigaro.fr/style/les-talents-its-imaginent-la-mode-du-futur-160715-97480) . Madame Figaro (in French) . Retrieved May 27, 2016 . ^ (#cite_ref-3) "Catherine Schwaab – A Trieste, entre soleil, mode et talent" (http://www.parismatch.com/Chroniques/Catherine-Schwaab/A-Trieste-entre-soleil-mode-et-talent-799034) . ParisMatch.com (in French) . Retrieved May 27, 2016 . ^ (#cite_ref-4) "IlSole24Ore – Talenti creativi – Con ITS 2014 a Trieste premi per 100mila euro, stage e opportunità di lavoro per i giovani delle scuole di moda e design da 20 Paesi" (http://job24.ilsole24ore.com/news/Articoli/2014/07/ITS14-vincitori-23072014_PRN.php) . job24.ilsole24ore.com . Retrieved May 27, 2016 . ^ (#cite_ref-5) "Conosci Barbara Franchin founder, director & project supervisor di ITS International Talent Support?" (http://www.elle.it/Magazine/Barbara-Franchin-ITS-International-Talent-Support-Trieste-EVE) . www.elle.it . Retrieved May 27, 2016 . ^ (#cite_ref-6) "Io, giurato a ITS 2015: giudicare e/o essere giudicato" (http://www.marieclaire.it/Moda/Il-blog-di-Antonio-Mancinelli/ITS-2015-Trieste-essere-in-giuria#1) . www.marieclaire.it . Retrieved May 27, 2016 . ^ a b Dazed (April 7, 2015). "The accessory designers getting noticed (even by Björk)" (http://www.dazeddigital.com/fashion/article/24301/1/the-accessory-designers-getting-noticed-even-by-bjork) . Dazed . Retrieved May 27, 2016 . 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2003 perfume by Christine Nagel and Francis Kurkdjian for Narciso Rodriguez Narciso Rodriguez for Her Fragrance (/wiki/Perfume) by Narciso Rodriguez (/wiki/Narciso_Rodriguez) Notes (/wiki/Note_(perfumery)) Orange blossom (/wiki/Orange_blossom) , amber (/wiki/Amber) , vanilla (/wiki/Vanilla) , musk (/wiki/Musk) Released September 2003 ( 2003-09 ) Label Beauté Prestige International Predecessor n/a Successor Narciso Rodriguez for Her Musc Oil Narciso Rodriguez for Him Narciso Rodriguez for Her is an eau de toilette (/wiki/Eau_de_toilette) -strength perfume launched in September 2003 by fashion designer Narciso Rodriguez (/wiki/Narciso_Rodriguez) and created by perfumers Christine Nagel (/wiki/Christine_Nagel) and Francis Kurkdjian (/wiki/Francis_Kurkdjian) . It has won Fragrance Foundation (/wiki/The_Fragrance_Foundation) awards in France and the US, both at its original launch and retrospectively. The original eau de toilette is primarily a musk, amber and orange blossom scent. Narciso Rodriguez subsequently released an eau de parfum version (2004, again signed by Nagel and Kurkdjian) and many other versions, known as flankers, that include other notes. Background and development [ edit ] Narciso Rodriguez (/wiki/Narciso_Rodriguez) , an American fashion designer of Cuban ancestry, [1] (#cite_note-:2-1) drew acclaim for his 1996 wedding dress for Carolyn Bessette-Kennedy (/wiki/Wedding_dress_of_Carolyn_Bessette) and launched his eponymous label in 1997. He began developing a women's fragrance to accompany the line circa 2001. [2] (#cite_note-:1-2) Perfumers Christine Nagel (/wiki/Christine_Nagel) and Francis Kurkdjian (/wiki/Francis_Kurkdjian) created the fragrance for Rodriguez. [3] (#cite_note-:3-3) As he was a longtime fan of musks, devoted to Egyptian musk oil he'd first received as a gift in high school—"I sort of shower in it" [1] (#cite_note-:2-1) —this became a centerpiece for the fragrance. [2] (#cite_note-:1-2) In the course of development, Rodriguez also sought out the opinions of women he worked with, including actress Sarah Jessica Parker (/wiki/Sarah_Jessica_Parker) , who said she loved his fragrance (and went on to create her own musk-based fragrance, Lovely (/wiki/Lovely_(perfume)) , a few years later.) [2] (#cite_note-:1-2) Launch and reception [ edit ] Narciso Rodriguez for Her "achieved almost cult status when it launched in 2003." [4] (#cite_note-4) The fragrance, an eau de toilette (/wiki/Eau_de_toilette) with notes of orange blossom, amber, vanilla and musk, [2] (#cite_note-:1-2) was lauded in The Globe and Mail (/wiki/The_Globe_and_Mail) as "a serious and sexy scent, ideal for candlelight." [1] (#cite_note-:2-1) The Sunday Times (/wiki/The_Sunday_Times) described it as "soft as cashmere." [5] (#cite_note-5) The Vancouver Sun (/wiki/Vancouver_Sun) gave it 10 out of 10 marks, calling it a "gorgeous scent, slightly spicy but extremely soft and subtle." [6] (#cite_note-6) At the United States Fragrance Foundation awards (/wiki/FiFi_Awards) , Narciso Rodriguez for Her won 2004 women's perfume of the year in the "Nouveau Niche (/wiki/Niche_perfume) " category. [7] (#cite_note-7) The perfume has twice been recognized by France's Fragrance Foundation (/wiki/The_Fragrance_Foundation) Awards (FiFi Awards), first in 2005 for best women's fragrance, [8] (#cite_note-8) then again in 2012 with the "Twenty Years of Creativity" Prize at the 20th anniversary of the FiFi Awards: Narciso Rodriguez for Her was selected as the most iconic women's fragrance of the 20 that the Foundation had honored with its annual prize over its 20-year history. [9] (#cite_note-9) The fragrance helped propel the career of Nagel, who had begun working in the industry as a chemist, but drew recognition as a talented perfumer as a result of the success of Narciso Rodriguez for Her. [3] (#cite_note-:3-3) The fragrance has had continued popularity after its launch; in 2016, Allure named it to its annual "best of beauty" list, [10] (#cite_note-10) writing, "this sensual scent still has our love over ten years later." [11] (#cite_note-11) In 2019, Le Monde (/wiki/Le_Monde) noted that it continued to be a best-selling fragrance, especially in Italy, [3] (#cite_note-:3-3) and in 2020 it was advertised as one of Bloomingdale's (/wiki/Bloomingdale%27s) best-selling fragrances. [12] (#cite_note-12) In 2021, beauty director at The Cut Kathleen Hou, who describes it as "musky but juicy at the same time, with an eye-opening burst of orange blossom", says she had recently rediscovered it and was wearing it again after a hiatus. [13] (#cite_note-13) Photographer Cindy Sherman (/wiki/Cindy_Sherman) also named it was a favorite fragrance in 2019. [14] (#cite_note-14) Flankers [ edit ] A bottle of the 2006 eau de parfum version of Narciso Rodriguez for Her Numerous flankers, or alternate versions, have been created. The original was an eau de toilette, and the first flanker, in 2006 was an eau de parfum (/wiki/Eau_de_Parfum) with different notes (especially adding rose and peach) rather than strictly being a different concentration than the original. [15] (#cite_note-:0-15) It was again signed by Nagel and Kurkdjian. Where the original had a pink box and a sleek black rectangular bottle (in keeping with the designer's minimalist taste), [1] (#cite_note-:2-1) the eau de parfum came in the same packaging with the colors reversed (a black box and pink bottle). [15] (#cite_note-:0-15) The eau de parfum was estimated to do $3 million (US) in sales in its first year, [15] (#cite_note-:0-15) and won the 2006 women's fragrance of the year in the "Nouveau Niche" category from the United States Fragrance Foundation Awards. [16] (#cite_note-16) More than twenty more versions of Narciso Rodriguez for Her have been released. A 2021 version, Narciso Rodriguez For Her Musc Noir Eau de Parfum, features notes of plum, heliotrope, suede and musk. [17] (#cite_note-17) Ancillary body products have also been manufactured, for example a Narciso Rodriguez For Her hair mist. [18] (#cite_note-18) Related perfumes [ edit ] Another early release was Narciso Rodriguez for Her Musc Oil, a component ingredient of all the other perfumes in the line. Originally released in 2003, [2] (#cite_note-:1-2) it gained cult status after being discontinued, [19] (#cite_note-19) but was brought back into production in 2013 [20] (#cite_note-20) and has also spawned a number of flankers. In 2007, Rodriguez released Narciso Rodriguez for Him, which has also had many flankers. At the 2008 French Fragrance Foundation awards, it won best men's fragrance in limited distribution and best men's fragrance bottle. [21] (#cite_note-21) References [ edit ] ^ Jump up to: a b c d Fulsang, Deborah. "Glamour Boy." (https://www.theglobeandmail.com/life/glamour-boy/article1049392/) The Globe and Mail , December 20, 2003 . Via ProQuest. ^ Jump up to: a b c d e Diamond, Kerry. "Can Fragrance make You More Desirable?" Harper's Bazaar , no. 3504, 11, 2003, pp. 70–72 . Via ProQuest. ^ Jump up to: a b c "Christine Nagel, le nez des parfums Hermès" (https://www.lemonde.fr/economie/article/2019/03/20/christine-nagel-le-nez-des-parfums-hermes_5438676_3234.html) . Le Monde.fr (in French). March 20, 2019 . Retrieved July 19, 2021 . ^ (#cite_ref-4) Cole, Bethan. "Cult Leader: [Final 1 Edition]." Sunday Times , March 6, 2005, p. 29 . Via ProQuest. ^ (#cite_ref-5) "For the Truly Fragrant: [Final 1 Edition]." Sunday Times , November 30, 2003, p. 62 . Via ProQuest. ^ (#cite_ref-6) "Awaken Your Senses, and His ...: [Final Edition]." The Vancouver Sun , February 10, 2004, p. C5 . Via ProQuest. ^ (#cite_ref-7) Naughton, Julie, Kristin Finn, and Matthew W. Evans. "A STAR TURN AT THE FIFI'S: WOMEN'S WEAR DAILY." Wwd , vol. 187, no. 121, 2004, p. 8 . Via ProQuest. ^ (#cite_ref-8) "Fifi Awards 2005" (https://www.fragrancefoundation.fr/2012/04/fifi-awards-2005/) . The Fragrance Foundation France (in French). April 25, 2012. Archived (https://web.archive.org/web/20201026070858/https://www.fragrancefoundation.fr/2012/04/fifi-awards-2005/) from the original on October 26, 2020 . Retrieved November 26, 2020 . ^ (#cite_ref-9) "Fifi Awards 2012 : le palmarès" (https://www.premiumbeautynews.com/fr/fifi-awards-2012-le-palmares,4312) . Premium Beauty News (in French). July 5, 2012. Archived (https://web.archive.org/web/20210110172235/https://www.premiumbeautynews.com/fr/fifi-awards-2012-le-palmares,4312) from the original on January 10, 2021 . Retrieved November 26, 2020 . ^ (#cite_ref-10) "These Are Allure's Best of Beauty 2016 Winners" (https://www.allure.com/gallery/best-of-beauty-2016-winners) . Allure . September 10, 2016 . Retrieved July 19, 2021 . ^ (#cite_ref-11) "Narciso Rodriguez For Her" (https://www.allure.com/review/narciso-rodriguez-for-her-perfume) . Allure . September 12, 2016 . Retrieved July 19, 2021 . ^ (#cite_ref-12) Belfiore, Emily (December 4, 2020). "The 17 Best Perfume Sample Sets That Make Perfect Gifts" (https://wwd.com/shop/shop-beauty/perfume-sampler-sets-1234669473/) . WWD . Archived (https://web.archive.org/web/20210217210658/https://wwd.com/shop/shop-beauty/perfume-sampler-sets-1234669473/) from the original on February 17, 2021 . Retrieved March 6, 2021 . ^ (#cite_ref-13) Charuza, Nikita (March 3, 2021). "Narciso Rodriguez for her Eau de Toilette" (https://www.popsugar.com/node/48194580) . POPSUGAR Beauty . Retrieved March 6, 2021 . ^ (#cite_ref-14) "Cindy Sherman." Harper's Bazaar , Jun 2019, p. 68 . Via ProQuest. ^ Jump up to: a b c Kenny, Bryn. "Narciso Rodriguez Expands With Second Scent for Her." WWD: Women's WearDaily. June 24, 2005, Vol. 189 Issue 133, p. 22. ^ (#cite_ref-16) Naughton, Julie. "BEAUTY BEAT: STARS ABOUND AT FIFI AWARDS...DIDDY DOESN'T ANSWER BELL: WOMEN'S WEAR DAILY." Wwd , vol. 191, no. 71, 2006, p. 5 . Via ProQuest. ^ (#cite_ref-17) Winter, Lottie (March 4, 2021). "These are the best new perfumes perfect for Spring" (https://www.glamourmagazine.co.uk/gallery/spring-summer-perfumes-fragrances-scents) . Glamour UK . Archived (https://web.archive.org/web/20210304135005/https://www.glamourmagazine.co.uk/gallery/spring-summer-perfumes-fragrances-scents) from the original on March 4, 2021 . Retrieved March 6, 2021 . ^ (#cite_ref-18) Joseph, Sarah (February 17, 2021). "Cartier's Nadine Shahin talks through her beauty essentials" (https://emirateswoman.com/nadine-shahin-takes-us-through-her-must-have-beauty-essentials-this-season/) . Emirates Woman . Archived (https://web.archive.org/web/20210718215217/https://emirateswoman.com/nadine-shahin-takes-us-through-her-must-have-beauty-essentials-this-season/) from the original on July 18, 2021 . Retrieved March 6, 2021 . ^ (#cite_ref-19) Frolova, Victoria (March 27, 2012). "Narciso Rodriguez Musc for Her Oil : Long Lost Favorite" (https://boisdejasmin.com/2012/03/narciso-rodriguez-musc-for-her-oil-long-lost-favorite.html) . Bois de Jasmin . Retrieved July 20, 2021 . ^ (#cite_ref-20) "Fall Fragrance Special." Harper's Bazaar , no. 3618, 11, 2013, p. 217 . Via ProQuest. ^ (#cite_ref-21) "SNIPPETS: NEW BEAUTY STORES... FRAGRANCE AWARDS... WANG HONOR: WOMEN'S WEAR DAILY." Wwd , vol. 195, no. 79, 2008, p. 10 . Via ProQuest. 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Woman's striped silk sack-back caraco, 1760s, altered 1780s. Los Angeles County Museum of Art (/wiki/Los_Angeles_County_Museum_of_Art) , M.2007.211.3. A caraco is a style of woman's jacket (/wiki/Jacket) that was fashionable from the mid-18th to early 19th centuries. Caracos were thigh-length and opened in front, with tight three-quarter or long sleeves (/wiki/Sleeve) . Like gowns of the period (/wiki/1750%E2%80%931795_in_fashion) , the back of the caraco could be fitted to the waist or could hang in pleats (/wiki/Pleat) from the shoulder in the style of a sack back (/wiki/Sack-back_gown) . Caracos were generally made of printed linen (/wiki/Linen) or cotton (/wiki/Cotton) . [1] (#cite_note-Cumming-1) [2] (#cite_note-2) The caraco emerged as an informal style in France in the 1760s, [1] (#cite_note-Cumming-1) based on working-class jackets. It was worn with a petticoat (/wiki/Petticoat) and, if open in front, a stomacher (/wiki/Stomacher) or decorative stays (/wiki/Corset) . The English caraco was generally closed in front. A similar garment with a wrap front, called in English a bedgown (/wiki/Bedgown) or short gown, was the standard working woman's costume of the later 18th century. [1] (#cite_note-Cumming-1) Gallery [ edit ] Women's jackets and short gowns of the 18th century The Chocolate Girl , 1743–45, wears a fitted jacket, petticoat, and apron. Working woman's bedgown and petticoat, 1764. Caraco jacket in printed cotton and skirt in quilted silk satin, 1770-1790, ModeMuseum Provincie Antwerpen (/wiki/ModeMuseum_Provincie_Antwerpen) . Drawing of a Caraco, by David Ring. Notes [ edit ] ^ a b c Cumming et al. (2010), p. 40 ^ (#cite_ref-2) Takeda and Spilker (2010), p. 141. References [ edit ] Cumming, Valerie, C. W. Cunnington and P. E. Cunnington. The Dictionary of Fashion History , Berg, 2010, ISBN (/wiki/ISBN_(identifier)) 978-1-84788-533-3 (/wiki/Special:BookSources/978-1-84788-533-3) Takeda, Sharon Sadako, and Kaye Durland Spilker, Fashioning Fashion: European Dress in Detail, 1700 - 1915 , Prestel USA (2010), ISBN (/wiki/ISBN_(identifier)) 978-3-7913-5062-2 (/wiki/Special:BookSources/978-3-7913-5062-2) External links [ edit ] Caraco and matching petticoat (https://collections.vam.ac.uk/item/O88595/caraco-and-petticoat/) , Victoria and Albert Museum (/wiki/Victoria_and_Albert_Museum) , c. 1770s. v t e Historical clothing (/wiki/History_of_clothing_and_textiles) Clothing generally not worn today, except in historical settings Body-length (/wiki/Suit) Abolla (/wiki/Abolla) Banyan (/wiki/Banyan_(clothing)) Brunswick (/wiki/Brunswick_(clothing)) Court dress (Empire of Japan) (/wiki/Court_uniform_and_dress_in_the_Empire_of_Japan) Chiton (/wiki/Chiton_(costume)) Frock (/wiki/Frock) Frock coat (/wiki/Frock_coat) Hanfu (/wiki/Hanfu) 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A Baranger Motion. In operation, the whale rocks back and forth. Baranger Motion machines or "Baranger Motions" were store-window mechanical animated advertising displays, rented to jewellers, and produced from 1937 to 1959 [1] (#cite_note-hakone-1) by the Baranger Company of South Pasadena, California (/wiki/South_Pasadena,_California) United States. The dimensions of one typical "motion" were 21 inches (53 cm) wide, 12 inches (30 cm) tall, and 12 inches (30 cm) deep. [2] (#cite_note-2) History [ edit ] Their appearance was toy-like, cartoonish (/wiki/Cartoon) , or Art Deco (/wiki/Art_Deco) , and they featured simple, repetitive motions performed by the doll-like sculptures. No brand names or jeweller's names appeared on the displays; most of them pitched the generic idea of buying diamonds or watches. A typical motion showed technicians working on a "diamond reactor" with dials labelled "fire" and "sparkle," and a plaque noting that "Your diamond will appear much larger in one of our modern mountings." Many depicted couples courting or honeymooning, often in fanciful surroundings such as a Well Fargo stagecoach. Placards often suggested that a diamond could facilitate a favorable courtship outcome: "You will always be on the right road with one of our beautiful diamonds." [3] (#cite_note-3) One is described by a dealer: 1950s USA Baranger CO's RARE Honeymoon Motion Rocket- As seen in Kitahra's Book Yesterdays Toys. This is one of perhaps 6 or 7 Surviving rare Baranger Motion Display Rockets. Moon Rotates as rocket pitches & Yaws up & down. Honeymoon couple turn towards each other & pilots turns head to look at the couple. Amazing Electric Powered action. Probably the 1st or 2nd most coveted of all the baranger displays. Buck Rogers inspired rocket design with beautiful Art Deco period touches. [4] (#cite_note-4) The displays were designed by Arch E. Baranger, Hazel J. Baranger and Robert Gerlach [1] (#cite_note-hakone-1) and manufactured in runs of about 30 each. [ citation needed ] A total of 167 different designs were produced. [5] (#cite_note-daniel-5) The displays were never sold [5] (#cite_note-daniel-5) but rented to jewellers under a contract in which the displays were rotated monthly, each jeweller returning the old one and receiving a new one to display. [1] (#cite_note-hakone-1) [6] (#cite_note-laregional-6) Collectors of these motions prize them highly, and as of 2006 they appear to command mid-four-figure asking prices; one sold in 2005 for $6500. [7] (#cite_note-7) The Baranger Studios building itself is well known in South Pasadena, and some cited it as their favorite building in one survey. [8] (#cite_note-8) About a hundred of the motions are displayed in the Circus Building of the House on the Rock (/wiki/House_on_the_Rock) , a tourist attraction in Spring Green, Wisconsin (/wiki/Spring_Green,_Wisconsin) . [9] (#cite_note-9) A larger collection of 130 the motions is featured in Michael Pollack Advertising Museum. [10] (#cite_note-10) Further reading [ edit ] Daniel, John A. (/wiki/John_A._Daniel_(magician)) (2001). Baranger: Window displays in motion: dramatizing the jewel . Zon International Pub. Co. ISBN (/wiki/ISBN_(identifier)) 0-939549-26-3 . (not consulted for this article) References [ edit ] ^ a b c "Motion Display history" (https://web.archive.org/web/20050313033931/http://www.toymuseum.co.jp/body1-2.en.html) . Hakone Toy Museum. Archived from the original (http://www.toymuseum.co.jp/body1-2.en.html) on March 13, 2005 . Retrieved 2006-09-01 . ^ (#cite_ref-2) "Baranger Motion Display - Honeymoon Express" (http://www.liveauctioneers.com/item/973383) . Live Auctioneers. 2005-05-27 . Retrieved 2006-09-02 . "Sold for $5000" ^ (#cite_ref-3) "31: Baranger Motion Display-Wells Fargo Express Wagon" (https://archive.today/20120913054136/http://www.liveauctioneers.com/item/973382/baranger-motion-display-wells-fargo-express-wagon) . 2005-05-27. Archived from the original (http://www.liveauctioneers.com/item/973382/baranger-motion-display-wells-fargo-express-wagon) on 2012-09-13 . Retrieved 2006-09-02 . "You will always be on the right road with one of our beautiful diamonds" ^ (#cite_ref-4) "Ozzie's Robots Toys and Collectibles" (http://www.ozziesrobots.com/id25.htm) . Retrieved 2006-09-01 . ^ a b "Baranger Window Displays in Motion: A New Hardcover Art Book by John Daniel" (http://www.barangerstudios.com/) . Archived (https://web.archive.org/web/20060903162909/http://www.barangerstudios.com/) from the original on 3 September 2006 . Retrieved 2006-09-01 . ^ (#cite_ref-laregional_6-0) "Grandfather's Clock" (https://web.archive.org/web/20060621170909/http://greaterlaregional.com/exhibits/2005exhib/1.html) . National Association of Watch and Clock Collectors. 2005. Archived from the original (http://www.greaterlaregional.com/exhibits/2005exhib/1.html) on 2006-06-21 . Retrieved 2006-09-01 . ^ (#cite_ref-7) "Baranger Motion Window Display" (https://web.archive.org/web/20070928041926/http://www.liveauctioneers.com/item/1611910) . Live Auctioneers. Archived from the original (http://www.liveauctioneers.com/item/1611910) on 2007-09-28 . Retrieved 2006-09-01 . ^ (#cite_ref-8) "Staying Small: Successfully Visioning Exercise" (http://www.downtownsouthpas.com/DSPSurveyresults.pdf) (PDF) . City of South Pasadena, California. January 2006 . Retrieved 2006-09-01 . [ permanent dead link ] ^ (#cite_ref-9) "Attraction" (https://web.archive.org/web/20060822080029/http://www.thehouseontherock.com/html/attraction.htm) . House on the Rock. Archived from the original (http://www.thehouseontherock.com/html/attraction.htm) on 2006-08-22 . Retrieved 2006-09-01 . ^ (#cite_ref-10) "Baranger Motion Display Gallery" (https://web.archive.org/web/20091228194008/http://www.pollackmuseum.com/memorabilia/showgallery.php?cat=525) . Pollack Advertising Museum. Archived from the original (http://www.pollackmuseum.com/memorabilia/showgallery.php?cat=525) on 2009-12-28 . Retrieved 2012-11-14 . External links [ edit ] Images of Baranger Motions: Mice repairing a watch (http://www.wannabuyawatch.com/images/28104.jpg) [ permanent dead link ] Space ship and moon (http://danefield.com/alpha/forums/uploads/post-2-1098482808.jpg) Detailed view of "Honeymoon rocket" (http://danefield.com/alpha/forums/uploads/post-2-1103307440.jpg) "Honeymoon express" (http://www.liveauctioneers.com/item/973383) "Grandfather's Clock" (https://web.archive.org/web/20071008081335/http://www.greaterlaregional.com/exhibits/2005exhib/1/03.gif) Wells Fargo stagecoach (https://archive.today/20130127203831/http://photos.liveauctioneers.com/houses/noelbarrett/2264/0031_1_lg.jpg) Sawing a woman in half (https://archive.today/20130128030116/http://photos.liveauctioneers.com/houses/pweissauctions/764/0109_1_lg.jpg) "He could have won her with one of our beautiful diamonds" Pollackmuseum.com (https://web.archive.org/web/20101123013655/http://www.pollackmuseum.com/history.php) NewPP limit report Parsed by mw‐web.codfw.main‐58c7647fd9‐j67b4 Cached time: 20240713215351 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.248 seconds Real time usage: 0.573 seconds Preprocessor visited node count: 1069/1000000 Post‐expand include size: 23334/2097152 bytes Template argument size: 2378/2097152 bytes Highest expansion depth: 17/100 Expensive parser function count: 3/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 39723/5000000 bytes Lua time usage: 0.145/10.000 seconds Lua memory usage: 6851464/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 271.688 1 -total 35.34% 96.006 1 Template:Cite_book 24.44% 66.410 1 Template:Reflist 20.85% 56.659 1 Template:Citation_needed 20.72% 56.303 3 Template:Fix 15.23% 41.367 3 Template:Convert 14.32% 38.894 10 Template:Cite_web 13.70% 37.218 6 Template:Category_handler 4.28% 11.625 2 Template:Dead_link 2.49% 6.775 1 Template:Delink Saved in parser cache with key enwiki:pcache:idhash:6816159-0!canonical and timestamp 20240713215351 and revision id 994816742. 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American fashion designers Kate Mulleavy Born Katherine Marie Mulleavy ( 1979-02-11 ) February 11, 1979 (age 45) Oakland, California (/wiki/Oakland,_California) , U.S. Years active 2005–present Laura Mulleavy Born ( 1980-08-31 ) August 31, 1980 (age 43) Pasadena, California (/wiki/Pasadena,_California) , U.S. Years active 2005–present Katherine "Kate" Mulleavy (born February 11, 1979) and Laura Mulleavy (born August 31, 1980) are American fashion designers and filmmakers who founded the fashion label Rodarte (/wiki/Rodarte) in 2005. In addition to their work in fashion, the sisters have also ventured into film, writing and directing their first feature, Woodshock (/wiki/Woodshock) (2017), as well as co-designing costumes in the 2010 horror film Black Swan (/wiki/Black_Swan_(film)) . Early life [ edit ] Katherine Marie Mulleavy was born in 1979 in Oakland, California (/wiki/Oakland,_California) , [1] (#cite_note-1) and her sister, Laura Mulleavy, was born the following year in Pasadena (/wiki/Pasadena,_California) . [2] (#cite_note-cbi-2) [3] (#cite_note-ashley-3) They were raised in Northern California (/wiki/Northern_California) , growing up in Aptos (/wiki/Aptos,_California) , a town near Santa Cruz (/wiki/Santa_Cruz,_California) . Their mother, Victoria Rodart, is an artist of Mexican-Italian (/wiki/Italian_immigration_to_Mexico) ancestry, and their father, William Perry Mulleavy, is a mycologist (/wiki/Mycology) of Irish descent. [4] (#cite_note-perez-4) [5] (#cite_note-5) Both sisters attended the University of California, Berkeley (/wiki/University_of_California,_Berkeley) with Laura studying English literature and Kate studying art history. [6] (#cite_note-behind-6) Rodarte [ edit ] Main article: Rodarte (/wiki/Rodarte) In 2001, the sisters graduated from the University of California, Berkeley and returned to their family home in Pasadena, California (/wiki/Pasadena,_California) , where they began to work on establishing their own clothing line, waitressing and selling personal items to accrue funds. [6] (#cite_note-behind-6) The sisters founded the fashion line Rodarte (/wiki/Rodarte) , it was named after the original Spanish (/wiki/Spanish_language) pronunciation of their mother's maiden name, Rodart. They began independently, crafting a capsule collection of seven dresses and two coats in 2004. [6] (#cite_note-behind-6) Their work was featured in a February 2005 issue of Women's Wear Daily (/wiki/Women%27s_Wear_Daily) , which caught the attention of Vogue (/wiki/Vogue_(magazine)) editor Anna Wintour (/wiki/Anna_Wintour) , who traveled to Los Angeles to meet with the sisters in person. [6] (#cite_note-behind-6) Wintour became a public supporter of the label, featuring their work in numerous issues of Vogue . [6] (#cite_note-behind-6) In 2007 and 2009, respectively, Rodarte produced two limited-run lines of clothing with Gap (/wiki/Gap_(clothing_retailer)) and Target (/wiki/Target_Corporation) . [7] (#cite_note-target-7) Film and other ventures [ edit ] In 2010, the Mulleavy sisters had their first foray into film, collaborating with costume designer Amy Westcott on some of the costumes for the movie Black Swan (/wiki/Black_Swan_(film)) . [8] (#cite_note-8) In May 2015, the sisters announced that they had written a film script entitled Woodshock (/wiki/Woodshock) which was purchased by distribution company A24 (/wiki/A24_Films) ; the film, released in September 2017, stars Kirsten Dunst (/wiki/Kirsten_Dunst) . [9] (#cite_note-9) See also [ edit ] Rodarte (/wiki/Rodarte) Woodshock (/wiki/Woodshock) References [ edit ] ^ (#cite_ref-1) Melendez, Franklin (August 28, 2008). "Rodarte" (https://www.modernluxury.com/san-francisco/story/rodarte-kate-laura-mulleavy) . San Francisco Magazine . Archived (https://archive.today/20190915074543/https://www.modernluxury.com/san-francisco/story/rodarte-kate-laura-mulleavy) from the original on September 15, 2019 . Retrieved September 15, 2019 . ^ (#cite_ref-cbi_2-0) "Katherine Marie Mulleavy" (https://www.californiabirthindex.org/birth/katherine_marie_mulleavy_born_1979_14143209) . California Birth Index . Retrieved November 28, 2017 . ^ (#cite_ref-ashley_3-0) Ashley, Autumn, ed. (15 January 2011). The Good, Bad, Ugly . p. 15 . Retrieved November 28, 2017 . ^ (#cite_ref-perez_4-0) Perez, Eugenia (February 9, 2012). "The Rodarte Effect" (http://www.vanityfair.com/style/2012/03/rodarte-201203) . Vanity Fair . Retrieved November 20, 2017 . ^ (#cite_ref-5) Kaufman, Amy (September 22, 2017). "Kate and Laura Mulleavy, the sisters behind Rodarte, move into film with 'Woodshock' (http://www.latimes.com/entertainment/movies/la-et-mn-mulleavy-sisters-rodarte-woodshock-20170922-story.html) " (http://www.latimes.com/entertainment/movies/la-et-mn-mulleavy-sisters-rodarte-woodshock-20170922-story.html) . Los Angeles Times . Retrieved December 6, 2017 . ^ Jump up to: a b c d e Fortini, Amanda (January 18, 2010). "Twisted Sisters" (https://www.newyorker.com/magazine/2010/01/18/twisted-sisters) . The New Yorker . Retrieved December 5, 2017 . ^ (#cite_ref-target_7-0) O'Dell, Amy (December 3, 2009). "The Full Rodarte for Target Look Book, With Prices" (https://www.thecut.com/2009/12/rodarte_for_target_1.html) . The Cut . Retrieved December 6, 2017 . ^ (#cite_ref-8) Milligan, Lauren (February 1, 2011). "Rodarte Row" (https://www.vogue.co.uk/news/2011/02/01/rodarte-black-swan-controversy-costume-designer) . Vogue UK . Retrieved November 30, 2017 . ^ (#cite_ref-9) McClintock, Pamela (May 11, 2015). "Cannes: Rodarte Sisters Kate and Laura Mulleavy Directing First Feature (Exclusive)" (http://www.hollywoodreporter.com/news/cannes-rodarte-sisters-kate-laura-794294) . The Hollywood Reporter (/wiki/The_Hollywood_Reporter) . Retrieved May 26, 2015 . External links [ edit ] Wikiquote has quotations related to Kate and Laura Mulleavy (https://en.wikiquote.org/wiki/Special:Search/Kate_and_Laura_Mulleavy) . 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American fashion designer Joan Frances Calabrese (October 29, 1939 – July 16, 2017) was an American fashion designer specialising in children's high end clothing. Early life [ edit ] Joan Calabrese, born on October 29, 1939, [1] (#cite_note-family-1) was raised in Philadelphia, Pennsylvania (/wiki/Philadelphia,_Pennsylvania) . [2] (#cite_note-moncheri-2) Joan displayed a love for fashion from a very early age when she began designing and sewing clothes for her dolls. Calabrese once noted, "my mother said as soon as I could hold a pencil I was drawing costumes and people." [3] (#cite_note-caletha-3) She studied fashion illustration at the Pennsylvania Academy of the Fine Arts (/wiki/Pennsylvania_Academy_of_the_Fine_Arts) , [3] (#cite_note-caletha-3) and was offered a full scholarship which she declined in order to work with family. [2] (#cite_note-moncheri-2) She began styling children's clothing when she first made dresses for her two daughters, Marisa Moore and Elena Calabrese. As she made these dresses, her cousin, Tom Marotta, who was at that time Vice President of Saks Fifth Avenue (/wiki/Saks_Fifth_Avenue) 's couture department, was intrigued by her designs and had Joan introduce her dresses to the store. This Children's Boutique owned by Linda Berman [4] (#cite_note-4) started to buy her self-sewn dresses, which started off her career. For the first couple of years of sewing dresses, she only worked on them herself, but as her children's dresses got introduced into her boutiques she began to hire seamstress. As she began to become more known, her dresses were now in Cerutti's [5] (#cite_note-5) on Madison Avenue, New York. After this well-known store bought her clothing, more and more companies wanted her dresses, which led to her name getting out there. She was one of the few stylist for high style clothing for children. Calabrese also made women's handbags, but was more inspired to do children's clothing and continued on with couture for kids. Work [ edit ] For many years she worked under her own label, Joan Calabrese INC. She bought her own fabrics from Paris, Europe, where she traveled twice a year. Her office was primarily in the basement of her house in Newtown Square, Pennsylvania. Many people in the high end world scheduled to meet with her in order to get specialized dresses for their children. When she first started creating these unique dresses she made about 2500 dresses a year by herself. Career [ edit ] Her early designs were very expensive, costing up to $400 in 1982, [6] (#cite_note-klinger-6) mainly due to her focus on the best fabrics from Europe. [6] (#cite_note-klinger-6) [3] (#cite_note-caletha-3) She described how she tried to individualize her materials and make her pieces unique and special. [7] (#cite_note-marantz-7) In an interview with Drexel University (/wiki/Drexel_University) , Joan said many of her customers considered the gowns a family heirloom to be passed from generation to generation. [7] (#cite_note-marantz-7) Pieces of Calabrese's clothing are held in the permanent collections of The Metropolitan Museum of Art (/wiki/Metropolitan_Museum_of_Art) , who accepted two of Joan's dresses for the Permanent Collection of their Costume Institute (/wiki/Costume_Institute) , [6] (#cite_note-nytimes-6) and she is also featured in the Costume Collection of the Philadelphia Museum of Art (/wiki/Philadelphia_Museum_of_Art) . [7] (#cite_note-7) In order to be a part of these museums, an artists' work was judged and then approved. Joan Calabrese being the designer, marketer and sales-person of her clothing, introduced her own work to the museum by calling and setting up a date to observe her work in order to consider it for these museums. Calabrese clients included Natalie Wood (/wiki/Natalie_Wood) , members of the Kennedy family (/wiki/Kennedy_family) , Nancy Sinatra (/wiki/Nancy_Sinatra) and Betsy Bloomingdale (/wiki/Betsy_Bloomingdale) . [6] (#cite_note-klinger-6) Willow Smith wore her dress in the Fashion Catwalk at The Dubai Mall. [8] (#cite_note-8) When Dakota Fanning (/wiki/Dakota_Fanning) attended the 2003 Emmys (/wiki/55th_Primetime_Emmy_Awards) , aged 9, she wore a Calabrese design on the red carpet (/wiki/Red_carpet_fashion) . [9] (#cite_note-9) When Dakota Fanning wore her dress, Joan Rivers (/wiki/Joan_Rivers) was the host and asked her who she was wearing and Dakota answered Joan Calabrese. This also got Joan more known in the fashion industry and kicked off her career even more. She also won the DEBI award [10] (#cite_note-10) every year and still continues to win the award even after her death due to the release of many designs by companies. Mon Cheri [ edit ] As Joan Calabrese got older, she licensed with Mon Cheri for about 10 years. Here she illustrated affordable range of flower girl (/wiki/Flower_girl) and First Communion (/wiki/First_Communion) dresses. [11] (#cite_note-11) and focused mainly on flower girl wear. When she got to Mon Cheri, she did not hand sew her dresses anymore and instead they were done in the factory. Death [ edit ] Calabrese died of uterine cancer on July 16, 2017 in Newtown Square (/wiki/Newtown_Square) , Pennsylvania, aged 77. [12] (#cite_note-12) References [ edit ] ^ (#cite_ref-family_1-0) "Joan Frances Calabrese - United States Public Records" (https://familysearch.org/ark:/61903/1:1:KR2F-36B) . FamilySearch.org (/wiki/FamilySearch.org) . Retrieved July 20, 2017 . ^ Jump up to: a b "Joan Calabrese" (http://moncheribridals.com/designers/joan/) , moncheri.com, 2014 ^ Jump up to: a b c Crawford, Caletha (June 2010). "Fancy That" (http://www.earnshaws.com/articles/qa/2010/06/fancy) . Earnshaws . Retrieved July 21, 2014 . ^ (#cite_ref-4) "The Children's Boutique Inc" (https://www.manta.com/c/mmflttv/the-children-s-boutique-inc) . manta.com . Retrieved June 23, 2019 . ^ (#cite_ref-5) Skinner, Andrea (March 5, 1989). "Children's Fashion; Sizzling Summertime Wear" (https://www.nytimes.com/1989/03/05/magazine/children-s-fashion-sizzling-summertime-wear.html) . The New York Times . ISSN (/wiki/ISSN_(identifier)) 0362-4331 (https://www.worldcat.org/issn/0362-4331) . Retrieved July 15, 2023 . ^ Jump up to: a b c Klinger, Cynthia (March 20, 1982). "Joan Calabrese: Designer for a Very Special Group" (https://news.google.com/newspapers?nid=1961&dat=19820320&id=QMxVAAAAIBAJ&pg=3775,4914217) . Palm Beach Daily . Daily News . Retrieved July 21, 2014 . ^ Jump up to: a b Marantz, Paula. Interview with Joan Calabrese, DUTV's The Drexel InterView , Drexel University, 27 June 2006. Retrieved on 20 June 2006. ^ (#cite_ref-8) "Kids Fashion Fest opens to a packed house at Fashion Catwalk at The Dubai Mall" (https://www.dayofdubai.com/news/kids-fashion-fest-opens-packed-house-fashion-catwalk-dubai-mall) . www.dayofdubai.com . Retrieved June 23, 2019 . ^ (#cite_ref-9) Harris, Beth (September 25, 2003). "Pretty in Pastels: Lighter shades ruled on Emmy's red carpet" (https://news.google.com/newspapers?nid=1350&dat=20030925&id=6EpPAAAAIBAJ&pg=6831,2630647) . Toledo Blade . Retrieved July 21, 2014 . ^ (#cite_ref-10) "Congratulations to the 2016 DEBI Award Winners!" (https://www.bridalguide.com/blogs/2016-debi-award-winners) . BridalGuide . September 14, 2016 . Retrieved June 23, 2019 . ^ (#cite_ref-11) "Flower Girl / First Communion by Joan Calabrese" (https://usabridal.com/c80079/joan-calabrese.html) . usabridal.com . Retrieved June 23, 2019 . ^ (#cite_ref-12) Feitelberg, Rosemary (July 20, 2017). "Children's Wear Designer Joan Calabrese Dies at 77" (http://wwd.com/business-news/business-features/childrens-wear-designer-joan-calabrese-dies-at-10949415/) . Women's Wear Daily . Retrieved July 20, 2017 . 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(Redirected from Harper's & Queen (/w/index.php?title=Harper%27s_%26_Queen&redirect=no) ) American monthly women's fashion magazine Not to be confused with Harper's Magazine (/wiki/Harper%27s_Magazine) , Harper's Weekly (/wiki/Harper%27s_Weekly) , or Harpers Bizarre (/wiki/Harpers_Bizarre) . "Harper's & Queen" redirects here. For the historical British magazine Queen renamed Harper's & Queen before becoming UK's Harper's Bazaar, see Queen (magazine) (/wiki/Queen_(magazine)) . Harper's Bazaar Cover of the June/July 2014 issue, featuring Kate Winslet (/wiki/Kate_Winslet) Editor-in-chief Samira Nasr (United States) Lydia Slater (United Kingdom) Olivia Phillips (Arabia, Saudi Arabia and Qatar) [1] (#cite_note-1) Jillian Davison (Australia/New Zealand) Patricia Carta (Brazil) Evgenia Alexandrova (Bulgaria) Simona Sha (China) Nora Grundová (Czech Republic) Olivier Lalanne (France) Kerstin Schneider (Germany) Eleni Pateraki (Greece) Crystal Wong (Hong Kong) Rasna Bhasin (India) Ria Lirungan (Indonesia) Daria Veledeeva (Italy) Yuko Oguri (Japan) Larissa Azanova (Kazakhstan) Sekyung Cho (Korea) Aziz Draim (Malaysia) María José Guzmán (Mexico and In Spanish) Miluska van 't Lam (Netherlands) [2] (#cite_note-2) Petar Janošević (Serbia) Kenneth Goh (Singapore) [3] (#cite_note-3) Inma Jimenez Mateos (Spain) Kora Hsieh (Taiwan) Nichakul Kitayanubhongse (Thailand) Gulen Yelmen (Turkey) Tran-Nguyen Thien-Huong (Vietnam) [4] (#cite_note-4) Categories Fashion Frequency Monthly Publisher 1867–1913, Harper & Brothers (/wiki/Harper_%26_Brothers) Total circulation (June 2012) 734,504 [5] (#cite_note-5) Founded November 2, 1867 ; 156 years ago ( 1867-11-02 ) , New York City First issue November 2, 1867 ; 156 years ago ( 1867-11-02 ) , New York City Company Hearst Magazines (/wiki/Hearst_Communications) Country United States Based in New York City Language English Website harpersbazaar (http://harpersbazaar.com) .com (http://harpersbazaar.com) ISSN (/wiki/ISSN_(identifier)) 0017-7873 (https://www.worldcat.org/search?fq=x0:jrnl&q=n2:0017-7873) Harper's Bazaar is an American monthly (/wiki/Month) women (/wiki/Women) 's fashion magazine (/wiki/Fashion_magazine) . It was first published in New York City on November 2, 1867, as the weekly Harper's Bazar . [6] (#cite_note-bazar-6) Harper's Bazaar is published by Hearst (/wiki/Hearst_Communications) and considers itself to be the style resource for "women who are the first to buy the best, from casual to couture". [7] (#cite_note-7) Since its debut in 1867, as the U.S.'s first fashion magazine (/wiki/Fashion_magazine) , [ citation needed ] its pages have been home to talent such as the founding editor, author and translator Mary Louise Booth (/wiki/Mary_Louise_Booth) , as well as numerous fashion editors (/wiki/Fashion) , photographers, illustrators and writers. Harper's Bazaar targets an audience of professional women ranging from their twenties to sixties, who are interested in culture, travel, and luxury experiences. [8] (#cite_note-8) Harper's Bazaar ' s corporate offices are located in the Hearst Tower (/wiki/Hearst_Tower_(Manhattan)) , 300 West 57th Street (/wiki/57th_Street_(Manhattan)) or 959 Eighth Avenue (/wiki/Eighth_Avenue_(Manhattan)) , near Columbus Circle (/wiki/Columbus_Circle) in Midtown Manhattan (/wiki/Midtown_Manhattan) , New York City. The current editor-in-chief of the U.S. edition is Samira Nasr. [9] (#cite_note-9) History [ edit ] Book publishers Harper & Brothers (/wiki/Harper_%26_Brothers) founded the magazine based in New York City on November 2, 1867. [10] (#cite_note-10) [11] (#cite_note-marija-georgievska-2016-11) This company also gave birth to Harper's Magazine (/wiki/Harper%27s_Magazine) . Front cover illustrating hairstyles, Vol. I, No. 49 (October 3, 1868) – as Harper's Bazar: A Repository of Fashion, Pleasure, and Instruction Harper's Bazar began publication as a tabloid-size weekly newspaper catering to women in the middle and upper classes. It showcased fashion from Germany and Paris in a newspaper-design format. In fact, it was directly inspired by and modeled on a German fashion magazine Der Bazar (/wiki/Der_Bazar) , and received content from the German magazine in its early years, often publishing it simultaneously. [12] (#cite_note-12) [13] (#cite_note-13) It was not until 1901 Harper's moved to a monthly issued magazine which it maintains today. Now Harper's Bazaar is owned and operated by Hearst (/wiki/Hearst_Communications) in the United States and the National Magazine Company in the United Kingdom. Hearst purchased the magazine in 1913. [11] (#cite_note-marija-georgievska-2016-11) The name change to Harper's Bazaar was filed on December 30, 1930. [6] (#cite_note-bazar-6) However, the first magazine that showed the spelling "bazaar" on the cover came earlier with the November 1929 issue. Early years (1898–1912) [ edit ] As the turn of the century began in America, Harper's Bazar began featuring both illustrations (/wiki/Fashion_illustration) and photographs (/wiki/Fashion_photography) for its covers and inside features of high society and increasingly of fashion. [ citation needed ] During the late Victorian period, as the women's suffrage movement was gaining momentum (American women did not all win the right to vote until 1920 with the passing of the 19th Amendment (/wiki/Nineteenth_Amendment_to_the_United_States_Constitution) ), the introduction of more tailored dresses and jackets coincided with women's new sense of feminism. Bazaar also began profiling prominent socialites, such as the Astors (/wiki/Astor_family) and the Griscoms. In its early years, Harper's Bazaar focused primarily on society news, women's issues, and literature. The magazine featured articles, short stories, and serialized novels by notable authors such as Henry James, Edith Wharton, and Virginia Woolf. The Carmel Snow years (1933–1957) [ edit ] In 1933, editor-in-chief Carmel Snow (/wiki/Carmel_Snow) (a former editor at Vogue ) brought photojournalist Martin Munkacsi (/wiki/Martin_Munkacsi) to a windswept beach to shoot a swimwear spread. As the model ran toward the camera, Munkacsi took the picture that made fashion-magazine history. Until that moment, nearly all fashion was carefully staged on mannequin-like models in a studio. Snow's buoyant spirit (she rarely slept or ate, although she had a lifelong love affair with the three-martini lunch) and wicked sense of adventure brought life to the pages of Bazaar . Snow's genius came from cultivating the "best" people. Her first big find was art director Alexey Brodovitch, who innovated Bazaar ' s iconic Didot logo. Brodovitch is perhaps best known for his work with Richard Avedon, who, as a young photographer, was so determined to work at Bazaar that he endured the humiliation of 14 canceled interviews before finally being hired. Snow also unleashed the force of nature known as Diana Vreeland (/wiki/Diana_Vreeland) , whom she brought on as fashion editor in 1936. The collaboration of these four visionaries resulted in some of the germane fashion shoots of the 20th century and ended only with Snow's retirement, at age 70, in 1957. [14] (#cite_note-14) The publication in the September 15, 1937 issue of Man Ray's photograph of his partner, the Guadeloupean model and dancer Adrienne Fidelin (/w/index.php?title=Adrienne_Fidelin&action=edit&redlink=1) , was the first time a Black model was featured in a major American fashion magazine. [15] (#cite_note-15) Carmel Snow was living in Ireland before her mother, Annie White paid for her and her sisters immigration to America when she was 8-years-old. [16] (#cite_note-16) Alexey Brodovitch (1934–1958) [ edit ] In 1934, newly installed Bazaar editor Carmel Snow attended an Art Directors Club of New York exhibition curated by 36-year-old graphic designer Alexey Brodovitch (/wiki/Alexey_Brodovitch) and immediately offered Brodovitch a job as Bazaar ' s art director. Throughout his career at the magazine, Brodovitch, a Russian émigré (by way of Paris), revolutionized magazine design. With his directive "Astonish me", he inspired some of the greatest visual artists of the 20th century (including protégés Irving Penn (/wiki/Irving_Penn) , Hiro (/wiki/Hiro_(photographer)) , Gleb Derujinsky (/wiki/Gleb_Derujinsky) , and, of course, Richard Avedon (/wiki/Richard_Avedon) ). One of his assistants was future Rolling Stone (/wiki/Rolling_Stone) art director Tony Lane (/wiki/Tony_Lane) . Brodovitch's signature use of white space, his innovation of Bazaar ' s iconic Didot logo, and the cinematic quality that his obsessive cropping brought to layouts (not even the work of Man Ray (/wiki/Man_Ray) and Henri Cartier-Bresson (/wiki/Henri_Cartier-Bresson) was safe from his busy scissors) compelled Truman Capote (/wiki/Truman_Capote) to write, "What Dom Pérignon (/wiki/Dom_P%C3%A9rignon_(person)) was to champagne ... so [Brodovitch] has been to ... photographic design and editorial layout." Brodovitch's personal life was less triumphant. Plagued by alcoholism, he left Bazaar in 1958 and eventually moved to the south of France, where he died in 1971. The Vreeland years (1936–1962) [ edit ] Toni Frissell (/wiki/Toni_Frissell) , Woman in tennis outfit, published in Harper's Bazaar , February 1947 When Carmel Snow saw Diana Vreeland (/wiki/Diana_Vreeland) dancing on the roof of New York's St. Regis Hotel in a white lace Chanel (/wiki/Chanel) dress and a bolero with roses in her hair one evening in 1936, she knew she'd found Bazaar ' s newest staffer. Diana, who is said to have invented the word "pizzazz", first came to the attention of readers with her "Why Don't You ...?" column. (A typical suggestion: "Why don't you ... wear, like the Duchess of Kent (/wiki/Princess_Marina,_Duchess_of_Kent) , three enormous diamond stars arranged in your hair in front?") Before long, she became fashion editor, collaborating with photographers Louise Dahl-Wolfe (/wiki/Louise_Dahl-Wolfe) , Alexey Brodovitch (/wiki/Alexey_Brodovitch) , and Richard Avedon (/wiki/Richard_Avedon) and, later, art director Henry Wolf (/wiki/Henry_Wolf) . Her eccentricity, perception and wit, as well as her sharp wit and sweeping pronouncements ("I adore that pink! It's the navy blue of India," "Elegance is refusal!"), were memorialized in the movie Funny Face , making her, for many, the prototypical fashion-magazine editor. The Avedon years (1945–1965) [ edit ] Richard Avedon (/wiki/Richard_Avedon) began creating fashion portfolios for Harper's Bazaar at age 22. His distinctive photographs showed both chic insouciance and boundless vitality. Avedon's women leapt off curbs, roller-skated on the Place de la Concorde (/wiki/Place_de_la_Concorde) , and were seen in nightclubs, enjoying the freedom and fashions of the postwar era. He wanted his art in photos to be in the moment for his models, to be much more natural and raw. The goal always for him was to eliminate the background and pull focus to the main subject of the photograph, such as a model in the desert suffering from being stranded in the middle of nowhere. His minimalist (/wiki/Minimalism_(visual_arts)) style of photography created this new theme in fashion where less can be more. Amazingly, he carved a pathway for models to show their true selves in modeling. [ citation needed ] He was immortalized in the film Funny Face (/wiki/Funny_Face) by the character Dick Avery (played by Fred Astaire (/wiki/Fred_Astaire) ), who asked, "What's wrong with bringing out a girl who has character, spirit, and intelligence?" Alongside Fred Astaire was the leading lady Audrey Hepburn who portrays a "plain" girl who ultimately blossoms into a beautiful women. Avedon contributed many stills of Audrey Hepburn to the film, although he did not believe it truly captured her beauty, because getting to know her set her beauty on whole another level that just could not be caught in a photo. [ citation needed ] Being photographed by Avedon for the February 1959 issue of Harper's Bazaar , China Machado (/wiki/China_Machado) was one of the first non-caucasian models to appear on the pages of a fashion magazine. [17] (#cite_note-17) The Derujinsky years (1950–1968) [ edit ] Gleb Derujinsky (/wiki/Gleb_Derujinsky) 's 18-year career at Harper's Bazaar spanned from 1950 to 1968 and during that time produced some of the classic images of the era. Scouted by editor-in-chief Carmel Snow (/wiki/Carmel_Snow) and art director Alexey Brodovitch (/wiki/Alexey_Brodovitch) , Derujinsky joined the elite group of photographers, including Richard Avedon (/wiki/Richard_Avedon) , who shot for the magazine. Working closely with the then fashion editor Diana Vreeland (/wiki/Diana_Vreeland) , Derujinsky proved a pioneer in his field, creating stunning juxtapositions between European Haute Couture dresses and landscapes ranging from desert sands to car junkyards, fairgrounds and airports, all this at a time when air travel was yet to become as common as it is now. "Avedon shot dresses and clothes, Gleb shot women living in them". [18] (#cite_note-18) To mark the inauguration of Pan Am's Boeing 707 (/wiki/Boeing_707) in 1957, Derujinsky traveled across the world with Nena von Schlebrügge (/wiki/Nena_von_Schlebr%C3%BCgge) , and Ruth Neumann, whom he would later marry. The latter would be his muse from the seaside harbors of China, to the Nara Deer Park in Japan, and throughout Thailand, Spain and Greece. The 1957 Paris Collections were the basis for a 25-page spread in Harper's Bazaar featuring his photographs. "Gleb Derujinsky's photographs evoke the best of Harper's Bazaar : exquisitely beautiful, original, and instantly iconic images of a very fashionable life". [19] (#cite_note-19) Nonnie Moore (1980–1984) [ edit ] Nonnie Moore (/wiki/Nonnie_Moore) was hired as fashion editor in 1980, having served in the same post at Mademoiselle (/wiki/Mademoiselle_(magazine)) . [20] (#cite_note-20) The New York Times (/wiki/The_New_York_Times) noticed the changes she made at Harper's Bazaar , highlighting how the magazine had been "looking a little dowdy", but that Moore had "noticeably sharpened the magazine's fashion point of view" by showing "brighter, younger and more stylish", complimenting her use of "young and exciting fashion photographers", such as Oliviero Toscani (/wiki/Oliviero_Toscani) . [21] (#cite_note-21) Harper's Bazaar worldwide [ edit ] Harper's Bazaar has 29 editions worldwide. In publication Harper's Bazaar Arabia (in Arabic and English, since 2007) [22] (#cite_note-22) Harper's Bazaar Australia/New Zealand (in English, from 1984 to 1990 and then from 1998 to 2020, since 2021) [23] (#cite_note-23) Harper's Bazaar Brazil (in Portuguese, since 2011) [24] (#cite_note-24) Harper's Bazaar China (in Simplified Chinese, since 2002) Harper's Bazaar Czech Republic (in Czech, since 1997) Harper's Bazaar France (in French, since 2023) [25] (#cite_note-25) Harper's Bazaar Germany (in Germany, from 1963–1970 and then from 1985–1992, since 2013) [26] (#cite_note-26) Harper's Bazaar Greece (in Greek, since 1996) Harper's Bazaar Hong Kong (in Traditional Chinese, since 1988) Harper's Bazaar India (in English, since 2009) [27] (#cite_note-27) Harper's Bazaar Indonesia (in Indonesian, since 2000) Harper's Bazaar Italy (in Italian, since 2022) [28] (#cite_note-28) Harper's Bazaar Japan (in Japanese, since 2000) Harper's Bazaar Korea (in Korean, since 1996) [29] (#cite_note-29) Harper's Bazaar Latin America (in Spanish, since 1980) Harper's Bazaar Malaysia (in English, since 2003) Harper's Bazaar Netherlands (in Dutch, since 2014) [30] (#cite_note-30) Harper's Bazaar Qatar (in English, since 2022) Harper's Bazaar Saudi (in Arabic and English, since 2021) Harper's Bazaar Serbia (in Serbian, since 2014) Harper's Bazaar Singapore (in English, since 2001) Harper's Bazaar Spain (in Spanish, since 2010) [31] (#cite_note-31) Harper's Bazaar Taiwan (in Traditional Chinese, since 1989) Harper's Bazaar Thailand (in Thai, since 2005) Harper's Bazaar Turkey (in Turkish, since 1993) Harper's Bazaar Ukraine (in Ukrainian, since 2008) [32] (#cite_note-32) Harper's Bazaar United Kingdom (in English, since 1929) Harper's Bazaar United States (in English, since 1867) Harper's Bazaar Vietnam (in Vietnamese, since 2011) Defunct Harper's Bazaar Argentina (in Spanish, from 2011 to 2019) Harper's Bazaar Bulgaria (in Bulgarian) Harper's Bazaar Chile (in Spanish, from 2015 to 2019) Harper's Bazaar Kazakhstan (in Russian) Harper's Bazaar Poland (in Polish, from 2013 to 2019) Harper's Bazaar Romania (in Romanian, from 2007 to 2021) [33] (#cite_note-33) Harper's Bazaar Russia (in Russian, till 2022) [34] (#cite_note-34) Harper's Bazaar Arabia [ edit ] Harper's Bazaar Arabia was launched in March of 2007 and is published by ITP Media Group and based in Dubai (/wiki/Dubai) . [35] (#cite_note-35) The brand also publishes Harper's Bazaar Art , Interiors and Junior titles. In July 2018 Harper's Bazaar Arabia became the first magazine to have a Saudi Arabian woman on the cover when they featured Taleedah Tamer (/wiki/Taleedah_Tamer) as their July/August cover girl. [36] (#cite_note-36) Editors Rachel Sharp (2007–2009) Louise Nichol (2009–2018) Salma Awwad (2018–2020) Olivia Phillips (2020–present) Harper's Bazaar Australia/New Zealand [ edit ] Harper's Bazaar Australia is based in Sydney. The magazine originally ran from 1984 to 1990. The magazine was relaunched in March 1998 with Nicole Kidman (/wiki/Nicole_Kidman) on the cover. The magazines current editor is Jillian Davison, who started the position in 2021. In July 2020 the magazines publisher Bauer Media Australia (/wiki/Bauer_Media_Australia) shuttered the publication citing declining advertising revenue and travel restrictions caused by the COVID-19 pandemic (/wiki/COVID-19_pandemic) . [37] (#cite_note-37) [38] (#cite_note-38) The magazine resumed publication in September 2021 as Harper's Bazaar Australia/New Zealand and is now published by Switzer Media and Publishing. [39] (#cite_note-39) Editors Karin Upton Baker (1998–2001) Alison Veness (2001–2008) Jamie Huckbody (2008–2009) Edwina McCann (2009–2012) Kellie Hush (2012–2018) Eugenie Kelly (2018–2021) Jillian Davison (2021–present) Harper's Bazaar China [ edit ] In November 2001 Best China Fashion was launched. In September of 2002 it took on the Harper's Bazaar name before fully rebranding in 2005. Editors Su Mang (2001–2018) Simona Sha (2018–present) Harper's Bazaar India [ edit ] Harper's Bazaar India launched in 2009 with Kareena Kapoor (/wiki/Kareena_Kapoor_Khan) on the cover. [40] (#cite_note-40) The magazine is based in Mumbai. [41] (#cite_note-41) Editors Sujata Assomull Sippy (2009–2012) Nishat Fatima (2012–2016) Nonita Kalra (2016–2020) Nandini Bhalla (2020-2023) Rasna Bhasin (2023–present) Harper's Bazaar Poland [ edit ] Harper's Bazaar Poland edition was launched in February 2013. [42] (#cite_note-42) The magazine was closed in December 2019. Harper's Bazaar Singapore [ edit ] Harper's Bazaar Singapore published its first Singapore (/wiki/Singapore) edition of the magazine on November 4, 2001. It is published by SPH Magazines (/wiki/SPH_Media_Trust) . In 2015, Harper's Bazaar Singapore launched its website. [43] (#cite_note-43) Harper's Bazaar Singapore has won several awards, including a MPAS Awards 2018 for Fashion Media of the Year (Gold). [44] (#cite_note-44) [45] (#cite_note-45) The magazine was also the media partner for the first four seasons of Asia's Next Top Model (/wiki/Asia%27s_Next_Top_Model) . Kenneth Goh (/w/index.php?title=Kenneth_Goh&action=edit&redlink=1) has been the editor-in-chief of the magazine since 2014. [46] (#cite_note-sph-46) Harper's Bazaar UK [ edit ] The Harper's Bazaar UK edition was first published in London in 1929. [47] (#cite_note-47) In November 1970, New York City-based Hearst Communications amalgamated it with Queen (/wiki/Queen_(magazine)) magazine (which dated from 1862) to form Harpers & Queen . The magazine was widely perceived to be focused on British "high society" and the lives of socialites and the British aristocracy. In March 2006, it was renamed Harper's Bazaar , bringing it in line with its international sister titles, and repositioned as a more celebrity-oriented fashion magazine. Harper's Bazaar UK has a long history of literary contributions from leading writers, including Evelyn Waugh (/wiki/Evelyn_Waugh) , Henry James (/wiki/Henry_James) , Thomas Hardy (/wiki/Thomas_Hardy) , and Virginia Woolf (/wiki/Virginia_Woolf) . It maintains that connection today, with recent articles written by Ali Smith (/wiki/Ali_Smith) , Jeanette Winterson (/wiki/Jeanette_Winterson) , and Margaret Atwood (/wiki/Margaret_Atwood) , and runs its own Literary Salon. Editors Lucy Yeomans (/wiki/Lucy_Yeomans) (2000–2012) Jennifer Dickinson (/w/index.php?title=Jennifer_Dickinson&action=edit&redlink=1) (2012–2013) Justine Picardie (/wiki/Justine_Picardie) (2013–2019) Lydia Slater (2019–present) Harper's Bazaar Vietnam [ edit ] American model and Miss Earth 2020 (/wiki/Miss_Earth_2020) Lindsey Coffey (/wiki/Lindsey_Coffey) on the Cover of December 2021 Harper's Bazaar magazine Vietnam The magazine was founded based in Ho Chi Minh City (/wiki/Ho_Chi_Minh_City) on June 27, 2011, the Vietnamese version of Harper's Bazaar is called Phong cách Harper's Bazaar as a result of merging Harper's Bazaar and Phong cách . [48] (#cite_note-48) Harper's Bazaar Vietnam was also a co-sponsor of the first season of Project Runway Vietnam (local title: Nhà thiết kế thời trang Việt Nam ). In 2014, Harper's Bazaar Vietnam launched its website. [49] (#cite_note-49) Editors [ edit ] Mary L. Booth (/wiki/Mary_Louise_Booth) (1867–1889) Margaret Sangster (/wiki/Margaret_Elizabeth_Sangster) (1889–1899) Elizabeth Jordan (/wiki/Elizabeth_Jordan) (1900–1913) William Martin Johnson (1913–1914) Hartford Powell (1914–1916) John Chapman Hilder (1916–1920) Henry Blackman Sell (1920–1926) Charles Hanson Towne (1926–1929) Arthur H. Samuels (1929–1934) Carmel Snow (/wiki/Carmel_Snow) (1934–1957) Nancy White (/wiki/Nancy_White_(editor)) (1957–1971) James Brady (/wiki/James_Brady_(columnist)) (1971–1972) Anthony Mazzola (1972–1992) Liz Tilberis (/wiki/Liz_Tilberis) (1992–1999) Katherine Betts (/wiki/Kate_Betts) (1999–2001) Glenda Bailey (/wiki/Glenda_Bailey) (2001–2020) Samira Nasr (/w/index.php?title=Samira_Nasr&action=edit&redlink=1) (2020–present) See also [ edit ] List of Harper's Bazaar cover models (/wiki/List_of_Harper%27s_Bazaar_cover_models) List of women's magazines (/wiki/List_of_women%27s_magazines) Margaret Elizabeth Sangster (/wiki/Margaret_Elizabeth_Sangster) References [ edit ] ^ (#cite_ref-1) "Harper's BAZAAR Arabia Announces Olivia Phillips As Editor In Chief" (https://www.harpersbazaararabia.com/fashion/featured-news/olivia-phillips-harpers-bazaar-arabia-editor-in-chief) . Harper's BAZAAR Arabia . March 4, 2020 . Retrieved July 19, 2020 . ^ (#cite_ref-2) "Kennismaken met de nieuwe hoofdredacteur van Harper's Bazaar NL" (https://www.harpersbazaar.com/nl/carriere/a24171477/miluska-van-t-lam-kennismaken-hoofdredacteur/) . Harper's Bazaar (in Dutch). October 28, 2018 . Retrieved July 20, 2020 . ^ (#cite_ref-3) "Bright Vachirawit Reflects On His Meteoric Rise with Editor-in-chief Kenneth Goh" (https://www.harpersbazaar.com.sg/video/bright-vachirawit-meteoric-rise-what-makes-him-happy/) . Harper's Bazaar Singapore . Retrieved May 26, 2023 . ^ (#cite_ref-4) Suen, Zoe (December 2, 2019). "Vietnam: Luxury's Next Goldmine?" (https://www.businessoffashion.com/articles/global-markets/vietnams-luxury-market-is-ready-to-boom) . Business of Fashion . Retrieved May 13, 2021 . ^ (#cite_ref-5) "eCirc for Consumer Magazines" (https://archive.today/20170123200306/http://abcas3.auditedmedia.com/ecirc/magtitlesearch.asp) . Alliance for Audited Media (/wiki/Alliance_for_Audited_Media) . June 30, 2012. Archived from the original (http://abcas3.auditedmedia.com/ecirc/magtitlesearch.asp) on January 23, 2017 . Retrieved December 2, 2012 . ^ a b "Corporate Changes". The New York Times , December 31, 1930. Page 36. "Albany, Dec. 30.—These corporate changes were filed today: ... [under heading 'Name Changes'] Harper's Bazar, Manhattan, to Harper's Bazaar. ..." ^ (#cite_ref-7) "Harper's BAZAAR" (https://www.hearst.com/magazines/harpers-bazaar) . www.hearst.com . Retrieved April 5, 2016 . ^ (#cite_ref-8) "Harper's Bazaar \| Hearst" (https://www.hearst.co.uk/brands/harpers-bazaar#:~:text=Bazaar%27s%20audience%20comprises%20women%20ranging,money%20on%20bespoke%20luxury%20experiences.) . ^ (#cite_ref-9) "Harper's Bazaar Appoints First Woman of Color as Top Editor" (https://www.nytimes.com/2020/06/09/business/media/harpers-bazaar-editor-samira-nasr.html) . The New York Times . Retrieved June 9, 2020 . ^ (#cite_ref-10) "Harper Brothers \| American publishers" (https://www.britannica.com/topic/Harper-brothers) . Encyclopedia Britannica . Retrieved September 7, 2017 . ^ a b Georgievska, Marija (December 27, 2016). "Harper's Bazaar is one of the oldest American fashion magazines first published in 1867" (https://www.thevintagenews.com/2016/12/27/harpers-bazaar-is-one-of-the-oldest-american-fashion-magazines-first-published-in-1867/) . ^ (#cite_ref-12) Ruxandra Looft (Winter 2017). "Unseen Political Spaces: Gender and Nationhood in the Berlin and Paris Fashion Press during the Franco-Prussian War" (https://doi.org/10.21825%2Fjeps.v2i2.4812) . Journal of European Periodical Studies . 2 (2): 48. doi (/wiki/Doi_(identifier)) : 10.21825/jeps.v2i2.4812 (https://doi.org/10.21825%2Fjeps.v2i2.4812) . ^ (#cite_ref-13) Minot, Lacey (March 1, 2020). " (https://dx.doi.org/10.1086/711201) Harper's Bazaar , premier magazine de mode" (https://dx.doi.org/10.1086/711201) . West 86th: A Journal of Decorative Arts, Design History, and Material Culture . 27 (1): 137–142. doi (/wiki/Doi_(identifier)) : 10.1086/711201 (https://doi.org/10.1086%2F711201) . ISSN (/wiki/ISSN_(identifier)) 2153-5531 (https://www.worldcat.org/issn/2153-5531) . S2CID (/wiki/S2CID_(identifier)) 225086128 (https://api.semanticscholar.org/CorpusID:225086128) . ^ (#cite_ref-14) "The Carmel Snow Years: 1933–57" (http://www.harpersbazaar.com/culture/features/a92/bazaar-140-0507/) . May 1, 2007. ^ (#cite_ref-15) Felder, Rachel (April 29, 2022). "Overlooked No More: Ady Fidelin, Black Model 'Hidden in Plain Sight' (https://www.nytimes.com/2022/04/29/obituaries/ady-fidelin-overlooked.html) " (https://www.nytimes.com/2022/04/29/obituaries/ady-fidelin-overlooked.html) . The New York Times (/wiki/The_New_York_Times) . ^ (#cite_ref-16) "The forgotten Irishwoman who once ruled the New York fashion industry" (https://www.irishtimes.com/life-and-style/abroad/the-forgotten-irishwoman-who-once-ruled-the-new-york-fashion-industry-1.4176501) . The Irish Times (/wiki/The_Irish_Times) . ^ (#cite_ref-17) Friedman, Vanessa (December 19, 2016). "China Machado, Breakthrough Model Until the End, Dies at 86" (https://www.nytimes.com/2016/12/19/fashion/china-machado-first-non-white-supermodel.html) . The New York Times . ISSN (/wiki/ISSN_(identifier)) 0362-4331 (https://www.worldcat.org/issn/0362-4331) . Retrieved June 29, 2021 . ^ (#cite_ref-18) Capturing Fashion: Derujinsky . Flammarion. 2016. p. 45. ^ (#cite_ref-19) Capturing Fashion: Gleb Derujinsky . Flammarion. 2016. p. 107. ^ (#cite_ref-20) Hevesi, Dennis (February 24, 2009). "Nonnie Moore, Fashion Editor at Magazines, Dies at 87" (https://www.nytimes.com/2009/02/25/business/media/25moore.html) . The New York Times (/wiki/The_New_York_Times) . Retrieved February 26, 2009 . ^ (#cite_ref-21) Duka, John (January 6, 1981). "Notes on Fashion" (https://select.nytimes.com/search/restricted/article?res=F60F16FC3C5F0C758CDDA80894D9484D81) . The New York Times . Retrieved February 25, 2009 . ^ (#cite_ref-22) "Harper's Bazaar Launches in Dubai - Harper's Bazaar Launches in Dubai \| Hearst" (https://www.hearst.com/-/harper-s-bazaar-launches-in-dubai) . www.hearst.com . Retrieved June 23, 2024 . ^ (#cite_ref-23) Hornery, Andrew (June 6, 2021). "Harper's Bazaar set to be relaunched in Australia" (https://www.smh.com.au/lifestyle/fashion/harper-s-bazaar-set-to-relaunch-in-australia-20210607-p57yna.html) . The Sydney Morning Herald . Retrieved June 23, 2024 . ^ (#cite_ref-24) "Hearst Magazines International Launches Harper's Bazaar in Brazil Starting with the November Issue - Hearst Magazines International Launches Harper's Bazaar in Brazil Starting with the November Issue \| Hearst" (https://www.hearst.com/-/hearst-magazines-international-launches-harper-s-bazaar-in-brazil-starting-with-the-november-issue) . www.hearst.com . Retrieved June 23, 2024 . ^ (#cite_ref-25) Richford, Rhonda (February 22, 2023). "Harper's Bazaar Launches French Edition" (https://wwd.com/business-news/media/harpers-bazaar-launches-edition-france-1235540431/) . WWD . Retrieved June 23, 2024 . ^ (#cite_ref-26) "Harper's Bazaar Germany Launching in Fall 2013 - Harper's Bazaar Germany Launching in Fall 2013 \| Hearst" (https://www.hearst.com/-/harper-s-bazaar-germany-launching-in-fall-2013) . www.hearst.com . Retrieved June 23, 2024 . ^ (#cite_ref-27) "Harper's Bazaar Launches in India - Harper's Bazaar Launches in India \| Hearst" (https://www.hearst.com/-/harper-s-bazaar-launches-in-india) . www.hearst.com . Retrieved June 23, 2024 . ^ (#cite_ref-28) "Harper's Bazaar Italy Launches Print Edition" (https://www.businessoffashion.com/news/media/harpers-bazaar-italy-print-magazine/) . The Business of Fashion . July 7, 2022 . Retrieved June 23, 2024 . ^ (#cite_ref-29) "Harper's Bazaar Is Set For Launch in South Korea" (https://www.wsj.com/articles/SB836340506546272000) . The Wall Street Journal (/wiki/The_Wall_Street_Journal) . July 3, 1996. ^ (#cite_ref-30) "Harper's Bazaar Netherlands to launch in September 2014" (https://www.hearst.com/-/harper-s-bazaar-netherlands-to-launch-in-september-2014) . www.hearst.com . Retrieved June 23, 2024 . ^ (#cite_ref-31) "Harper's Bazaar Launches in Spain - Harper's Bazaar Launches in Spain \| Hearst" (https://www.hearst.com/-/harper-s-bazaar-launches-in-spain) . www.hearst.com . Retrieved June 23, 2024 . ^ (#cite_ref-32) "Harpers Bazaar Launched in Ukraine" (https://www.sanoma.com/en/news/2008/wp/harpers-bazaar-launched-in-ukraine/) . www.sanoma.com . Retrieved June 23, 2024 . ^ (#cite_ref-33) "Harper's BAZAAR Launches in Romania - Harper's BAZAAR Launches in Romania \| Hearst" (https://www.hearst.com/-/harper-s-bazaar-launches-in-romania) . www.hearst.com . Retrieved June 23, 2024 . ^ (#cite_ref-34) Britten, Fleur (April 20, 2022). "Vogue Russia closes as Condé Nast stops publishing after 'rise in censorship' (https://www.theguardian.com/fashion/2022/apr/20/vogue-russia-closes-as-conde-nast-stops-publishing-after-rise-in-censorship) " (https://www.theguardian.com/fashion/2022/apr/20/vogue-russia-closes-as-conde-nast-stops-publishing-after-rise-in-censorship) . The Guardian . ISSN (/wiki/ISSN_(identifier)) 0261-3077 (https://www.worldcat.org/issn/0261-3077) . Retrieved June 23, 2024 . ^ (#cite_ref-35) "Harper's Bazaar (English)" (https://www.itp.com/magazine/63-Harpers_Bazaar) . ITP . ^ (#cite_ref-36) Holt, Bethan (June 28, 2018). "Could Taleedah Tamer become Saudi Arabia's first supermodel?" (https://www.telegraph.co.uk/fashion/people/could-taleedah-tamer-become-saudi-arabias-first-supermodel/) . The Telegraph . Archived (https://ghostarchive.org/archive/20220112/https://www.telegraph.co.uk/fashion/people/could-taleedah-tamer-become-saudi-arabias-first-supermodel/) from the original on January 12, 2022 – via www.telegraph.co.uk. ^ (#cite_ref-37) Doyle, Michael (July 21, 2020). "InStyle, Elle, Women's Health, Men's Health among Australian magazines axed by Bauer Media" (https://www.abc.net.au/news/2020-07-21/elle-womens-health-ok-instyle-magazines-axed-by-bauer/12478658) . ABC News (/wiki/ABC_News_(Australia)) . Archived (https://web.archive.org/web/20200811093817/https://www.abc.net.au/news/2020-07-21/elle-womens-health-ok-instyle-magazines-axed-by-bauer/12478658) from the original on August 11, 2020 . Retrieved September 4, 2020 . ^ (#cite_ref-38) Meade, Amanda (July 20, 2020). "Mercury Capital axes eight former Bauer magazines, including Harper's Bazaar, Elle and Men's Health" (https://www.theguardian.com/media/2020/jul/21/bauer-media-australia-axes-eight-magazines-including-harpers-bazaar-elle-and-mens-health) . The Guardian (/wiki/The_Guardian) . Archived (https://web.archive.org/web/20200827050944/https://www.theguardian.com/media/2020/jul/21/bauer-media-australia-axes-eight-magazines-including-harpers-bazaar-elle-and-mens-health) from the original on August 27, 2020 . Retrieved September 4, 2020 . ^ (#cite_ref-39) Hearst magazine’s Harpers Bazaar returning to Australia (https://web.archive.org/web/20210607121139/https://mumbrella.com.au/hearst-magazines-harpers-bazaar-returning-to-australia-686438) Mumbrella (/wiki/Mumbrella) June 7, 2021 ^ (#cite_ref-40) "Hottest covers of Harper's Bazaar – – Photo1 – India Today -" (http://indiatoday.intoday.in/gallery/hottest-covers-of-harpers-bazaar/1/6838.html#photo2) . ^ (#cite_ref-41) Advano, Alyssa (October 17, 2017). "The Life of Nonita Kalra, Editor of Harper's Bazaar India" (https://scadmanor.com/the-life-of-nonita-kalra-editor-of-harpers-bazaar-india/) . The Manor . Retrieved May 13, 2021 . ^ (#cite_ref-42) " (https://www.wirtualnemedia.pl/artykul/harper-s-bazaar-kosztowac-bedzie-11-90-zl-na-okladce-i-numeru-malgosia-bela) "Harper's Bazaar" kosztować będzie 11,90 zł. Na okładce I numeru Małgosia Bela" (https://www.wirtualnemedia.pl/artykul/harper-s-bazaar-kosztowac-bedzie-11-90-zl-na-okladce-i-numeru-malgosia-bela) . www.wirtualnemedia.pl (in Polish). February 5, 2013 . Retrieved November 15, 2022 . ^ (#cite_ref-43) "Harper's Bazaar Singapore – Fashion, Beauty, Travel, Parties & Culture" (http://harpersbazaar.com.sg) . ^ (#cite_ref-44) "Media Release: SPH Magazines a big winner at MPAS Awards 2018 – SPH Magazines" (https://www.sphmagazines.com.sg/news/2018/11/09/media-release-sph-magazines-a-big-winner-at-mpas-awards-2018) . ^ (#cite_ref-45) "Harper's BAZAAR – SPH Magazines" (https://www.sphmagazines.com.sg/magazines/harpers-bazaar) . ^ (#cite_ref-sph_46-0) "Media release: Kenneth Goh appointed Editor-in-Chief of Harper's BAZAAR Singapore – SPH Magazines" (https://web.archive.org/web/20200328051243/https://www.harpersbazaar.com.sg/about/) . Archived from the original (https://www.harpersbazaar.com.sg/about/) on March 28, 2020 . Retrieved January 31, 2020 . ^ (#cite_ref-47) Shaw, Ping (1999). "Internationalization of the women's magazine industry in Taiwan context, process and influence". Asian Journal of Communication . 9 (2): 17–38. doi (/wiki/Doi_(identifier)) : 10.1080/01292989909359623 (https://doi.org/10.1080%2F01292989909359623) . ^ (#cite_ref-48) " (http://vnexpress.net/gl/van-hoa/thoi-trang/2011/06/sao-chuan-bi-cho-le-ra-mat-phong-cach-harper-s-bazaar/) 'Sao' chuẩn bị cho lễ ra mắt 'Phong Cách Harper's Bazaar' (http://vnexpress.net/gl/van-hoa/thoi-trang/2011/06/sao-chuan-bi-cho-le-ra-mat-phong-cach-harper-s-bazaar/) " (http://vnexpress.net/gl/van-hoa/thoi-trang/2011/06/sao-chuan-bi-cho-le-ra-mat-phong-cach-harper-s-bazaar/) . VnExpress Giải Trí. ^ (#cite_ref-49) "Home" (http://bazaarvietnam.vn) . Harper's Bazaar Việt Nam . External links [ edit ] Wikimedia Commons has media related to Harper's Bazaar (https://commons.wikimedia.org/wiki/Category:Harper%27s_Bazaar) . Official website (https://harpersbazaar.com) Harper's Bazaar USA (http://www.fashionmodeldirectory.com/magazines/harpers-bazaar-usa) – magazine profile at Fashion Model Directory (/wiki/Fashion_Model_Directory) Online archive (http://www.magazineart.org/main.php/v/womens/harpersbazar/) Archived (https://web.archive.org/web/20110416080906/http://www.magazineart.org/main.php/v/womens/harpersbazar/) April 16, 2011, at the Wayback Machine (/wiki/Wayback_Machine) of early covers "Illustrations from (https://digitalcollections.nypl.org/nypldigital/dgkeysearchresult.cfm?keyword=Harper%27s+Bazaar) Harper's Bazaar " (https://digitalcollections.nypl.org/nypldigital/dgkeysearchresult.cfm?keyword=Harper%27s+Bazaar) . NYPL Digital Gallery (/wiki/NYPL_Digital_Gallery) . Cornell University. 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Mexican retail chain DAX is a chain of 25 beauty and variety stores in Mexico (/wiki/Mexico) based in Tijuana (/wiki/Tijuana) , Baja California (/wiki/Baja_California) , the country's sixth largest metropolitan area (/wiki/Metropolitan_areas_of_Mexico) . The stores are modeled along the United States model of large pharmacies such as CVS (/wiki/CVS_Pharmacy) or Walgreens (/wiki/Walgreens) , selling cosmetics, beauty supplies, and a limited range of kitchen supplies, decorative accessories, small appliances and electronics. DAX states that it is targeted at women. [1] (#cite_note-sobre-1) It can be characterized as a variety store (/wiki/Variety_store) , beauty store (/wiki/Beauty_store) , and pharmacy (/wiki/Pharmacy) . History [ edit ] DAX was originally launched by Dorian's (/wiki/Dorian%27s) , [1] (#cite_note-sobre-1) a now-defunct 14-store Tijuana-based department store chain. Carlos Slim (/wiki/Carlos_Slim) 's Grupo Carso (/wiki/Grupo_Carso) bought Dorian's Tijuana, S.A. de C.V. in 2004. The Dorian's brand came to an end in 2009 when Carso converted the Dorian's stores to Sears (/wiki/Sears_Mexico) . [2] (#cite_note-ra2009-2) DAX stores are now part of Grupo Carso's retail arm, Grupo Sanborns (/wiki/Grupo_Sanborns) , which also includes Sears, Sanborns (/wiki/Sanborns) , and iShopMixup (/wiki/IShopMixup) . Within Grupo Sanborns, DAX is part of the Sanborns division which as of December 2020 included: [3] (#cite_note-3) Sanborns (/wiki/Sanborns) junior department stores (/wiki/Junior_department_stores) -and-restaurants Sanborns Home&Fashion stores Sanborns Café restaurants 2 Saks Fifth Avenue (/wiki/Saks_Fifth_Avenue) stores in Mexico City (both since closed, see Timeline of Saks Fifth Avenue branches (/wiki/Timeline_of_Saks_Fifth_Avenue_branches) DAX had been part of the "Other Formats" division, which (as of the end of 2017) consisted of 57 stores and 71,678 square meters of retail area in the following formats: [4] (#cite_note-4) Sanborns Café, with 23 stores with a presence in five states of Mexico DAX 2 Saks Fifth Avenue (/wiki/Saks_Fifth_Avenue) stores Two shopping malls, Plaza Loreto and Plaza Inbursa One Sears store and three Sanborns stores in Central America ClaroShop e-commerce portal 3 Boutiques Coverage [ edit ] DAX has geographic coverage in the following cities (CC="Centro Comercial" i.e. "shopping center"): [5] (#cite_note-5) Tijuana (/wiki/Tijuana) [ edit ] Centro (/wiki/Downtown_Tijuana) (Av. Niños Héroes) Downtown, Tercera (Calle 3 a /3rd Street) CC Loma Bonita Plaza Playas de Tijuana (/wiki/Playas_de_Tijuana) Parque Industrial Pacífico CC Plaza Carrousel (/wiki/Plaza_Carrousel) , La Mesa (/wiki/La_Mesa,_Tijuana) Ruíz Otay Plaza Río Tijuana (/wiki/Plaza_R%C3%ADo_Tijuana) (branded as "Super DAX" for its size. Note: it is not a supermarket.) CC Plaza Papalote CC Monarca Boulevard Cucapah ElPunto La Pajarita Rio de la Plata Ensenada (/wiki/Ensenada,_Baja_California) [ edit ] CC Misión Reforma, Fracc. Valle Dorado Mexicali (/wiki/Mexicali) [ edit ] Calzada Justo Sierra CC Cachanilla CC Cataviña Plaza Juventud Plaza Nuevo Mexicali CC Santa Bárbara DAX Plaza Río Tijuana nov 2023 Other in Baja California (/wiki/Baja_California) State [ edit ] San Luis Río Colorado (/wiki/San_Luis_R%C3%ADo_Colorado) Tecate (/wiki/Tecate,_Baja_California) La Paz, Baja California Sur (/wiki/La_Paz,_Baja_California_Sur) [ edit ] La Paz (Zona Centro) CC El Punto Mexico City (/wiki/Mexico_City) [ edit ] Plaza Parque Tepeyac (/wiki/Tepeyac) Av. Río de la Plata, Reforma Colonia Cuauhtémoc (/wiki/Colonia_Cuauht%C3%A9moc) Plaza Carso (/wiki/Plaza_Carso) Rest of Greater Mexico City [ edit ] Plaza Tlalnepantla, Tlalnepantla de Baz (/wiki/Tlalnepantla_de_Baz) , State of Mexico (/wiki/State_of_Mexico) Plaza Las Americas, Ecatepec (/wiki/Ecatepec) , State of Mexico (/wiki/State_of_Mexico) References [ edit ] ^ Jump up to: a b "Sobre Dax" (https://www.dax.com.mx/pages/sobre-dax) . Dax (in Spanish). ^ (#cite_ref-ra2009_2-0) Reporte Anual 2009 (PDF) , Grupo Carso, archived from the original (http://www.carso.com.mx/ES/Inversionistas/informacion_financiera/Reporte%20anual/Reporte%20anual%202009.pdf) (PDF) on 2013-10-19 ^ (#cite_ref-3) “Formatos”, Grupo Sanborns, accessed 12 January 2024 (http://www.gsanborns.com.mx/formatos-negocios.html) ^ (#cite_ref-4) 2017 annual report (English edition), Grupo Sanborns (http://www.gsanborns.com.mx/info2017/ENG/sanborns-cafe-saks-dax.html) ^ (#cite_ref-5) "Tiendas" (https://www.dax.com.mx/pages/tiendas) . Dax (in Spanish) . Retrieved 12 January 2024 . 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British clothing brand headquartered in Bath, Somerset A major contributor to this article appears to have a close connection (/wiki/Wikipedia:Conflict_of_interest) with its subject. It may require cleanup to comply with Wikipedia's content policies, particularly neutral point of view (/wiki/Wikipedia:Neutral_point_of_view) . Please discuss further on the talk page (/wiki/Talk:Rupert_and_Buckley) . ( December 2014 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Rupert and Buckley Company type Private (/wiki/Privately_held_company) Industry Fashion (/wiki/Fashion) Clothing (/wiki/Clothing) Apparel (/wiki/Apparel) Genre Retail Founded 2011 ( Canterbury (/wiki/Canterbury) , Kent (/wiki/Kent) ) Founder James Buckley-Thorp (/wiki/James_Buckley-Thorp) Headquarters Barnstaple (/wiki/Barnstaple) , United Kingdom (/wiki/United_Kingdom) Area served United Kingdom (/wiki/United_Kingdom) Europe (/wiki/Europe) Ireland (/wiki/Republic_of_Ireland) United States (/wiki/United_States) China (/wiki/China) Key people Alexander Newman Products Clothing and Accessories Revenue £ (/wiki/Pound_sterling) 3,000,000 (2017) [1] (#cite_note-2015data-1) Number of employees 7 Website rupertandbuckley (http://rupertandbuckley.com) .com (http://rupertandbuckley.com) Rupert and Buckley was a British University derived clothing brand with its brand headquartered in Barnstaple, Devon (/wiki/Barnstaple,_Devon) . [2] (#cite_note-insider-2) History [ edit ] The company was founded in 2011 by James Buckley-Thorp (/wiki/James_Buckley-Thorp) whilst at the University of Kent (/wiki/University_of_Kent) where he was reading Law (/wiki/Law) . [3] (#cite_note-canterbury-3) Having previously sold items in other outlets, the company opened its first own shop in Bath (/wiki/Bath,_Somerset) . [2] (#cite_note-insider-2) In November 2013 the fashion label launched its "Brand Ambassador Scheme". [4] (#cite_note-mens-4) In early 2014, 25% of the company was sold to private investor Nigel Robinson. [2] (#cite_note-insider-2) On 5 November 2016, Rupert and Buckley opened their new store in the city centre of Oxford. The opening was supported by rising BBC Introducing star Chris Smee. [ citation needed ] In January 2017 James Buckley-Thorp (/wiki/James_Buckley-Thorp) resigned [5] (#cite_note-5) as director and a new CEO was appointed. Mr Alexander Newman is the current CEO and sole director of Rupert and Buckley LTD. [ citation needed ] On 9 October 2017, Rupert and Buckley were announced as the Official leisurewear partner to The Boat Race, for a period of 3 years. Supply the teams with all their off water apparel. [ citation needed ] In May 2019 the company entered in to a Company Voluntary Arrangement (CVA) with its creditors, [6] (#cite_note-6) and in August 2022 the company began liquidation, owing over £3.3m to creditors [7] (#cite_note-7) Branding and Products [ edit ] The brand name was a combination of the founder's surname and the name he'd like to call his first child. [8] (#cite_note-wor-8) The company incorporated aspects of British heritage and sporting design in its products, [2] (#cite_note-insider-2) and used a deep purple and dark yellow colour scheme for its packaging and in some of its products. [8] (#cite_note-wor-8) The fashion label described itself as grassroots university derived styling and the image and style of the branding was for the university market. [4] (#cite_note-mens-4) References [ edit ] ^ (#cite_ref-2015data_1-0) "Company Check Rupert and Buckley 2014-2015" (https://companycheck.co.uk/company/07651576/RUPERT-AND-BUCKLEY-LTD/summary) (PDF) . Company Check . Retrieved 1 July 2016 . ^ Jump up to: a b c d "Insider News South West – Crowdfunders sought for upmarket fashion label" (http://www.insidermedia.com/insider/south-west/113338-crowdfunders-sought-upmarket-bath-fashion-retailer) . Insidermedia.com . 28 April 2014 . Retrieved 4 May 2014 . ^ (#cite_ref-canterbury_3-0) "Put your shirt on James to be a top designer" (http://www.canterburytimes.co.uk/shirt-James-designer/story-13819077-detail/story.html) . Canterbury Times . 11 November 2011 . Retrieved 4 May 2014 . ^ Jump up to: a b Taylor, Rachael (28 October 2013). "Rupert & Buckley grows with student ambassadors" (http://www.menswearinsight.com/article-4258-rupert-amp-buckley-grows-with-student-ambassadors/) . Menswearinsight.com . Retrieved 4 May 2014 . ^ (#cite_ref-5) Crawley, James (11 April 2017). "Rupert and Buckley eyes return to Bath" (https://www.bathchronicle.co.uk/news/business/upmarket-clothing-store-rupert-buckley-22082) . Bath Chronicle . ^ (#cite_ref-6) "RUPERT AND BUCKLEY LTD. - Insolvency (free information from Companies House)" (https://find-and-update.company-information.service.gov.uk/company/07651576/insolvency) . find-and-update.company-information.service.gov.uk . Retrieved 21 May 2021 . ^ (#cite_ref-7) "RUPERT AND BUCKLEY LTD. filing history - Find and update company information - GOV.UK" (https://find-and-update.company-information.service.gov.uk/company/07651576/filing-history) . find-and-update.company-information.service.gov.uk . Retrieved 24 August 2022 . ^ Jump up to: a b "Fashion house re-locates to a county farm" (http://www.worcesternews.co.uk/business/10110369.Fashion_house_re_locates_to_a_county_farm/) . Worcester News (/wiki/Worcester_News) . 14 December 2012 . Retrieved 4 May 2014 . External links [ edit ] Official website (http://www.rupertandbuckley.com/) NewPP limit report Parsed by mw‐web.codfw.main‐58c7647fd9‐wwkfb Cached time: 20240713181051 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.343 seconds Real time usage: 0.517 seconds Preprocessor visited node count: 2351/1000000 Post‐expand include size: 36288/2097152 bytes Template argument size: 3992/2097152 bytes Highest expansion depth: 13/100 Expensive parser function count: 5/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 33901/5000000 bytes Lua time usage: 0.208/10.000 seconds Lua memory usage: 6235727/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 480.340 1 -total 30.48% 146.411 1 Template:Reflist 25.48% 122.407 7 Template:Cite_web 24.70% 118.620 1 Template:Short_description 20.03% 96.223 1 Template:Infobox_company 17.79% 85.449 1 Template:Infobox 14.02% 67.334 12 Template:Main_other 12.89% 61.898 1 Template:SDcat 10.42% 50.066 1 Template:COI 10.01% 48.105 1 Template:Ambox Saved in parser cache with key enwiki:pcache:idhash:42642471-0!canonical and timestamp 20240713181051 and revision id 1106907341. 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American fashion designer This article has multiple issues. Please help improve it (/wiki/Special:EditPage/Ronny_Kobo) or discuss these issues on the talk page (/wiki/Talk:Ronny_Kobo) . ( Learn how and when to remove these template messages (/wiki/Help:Maintenance_template_removal) ) The topic of this article may not meet Wikipedia's notability guideline for biographies (/wiki/Wikipedia:Notability_(people)) . Please help to demonstrate the notability of the topic by citing reliable secondary sources (/wiki/Wikipedia:Reliable_sources) that are independent (/wiki/Wikipedia:Independent_sources) of the topic and provide significant coverage of it beyond a mere trivial mention. If notability cannot be shown, the article is likely to be merged (/wiki/Wikipedia:Merging) , redirected (/wiki/Wikipedia:Redirect) , or deleted (/wiki/Wikipedia:Deletion_policy) . 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[1] (#cite_note-1) References [ edit ] ^ (#cite_ref-1) Rabuse, Desiree (December 5, 2010). "Fashion Spotlight: Torn by Ronny Kobo" (https://web.archive.org/web/20101208150910/http://www.blackbookmag.com/article/fashion-spotlight-torn-by-ronny-kobo/23689) . BlackBook (/wiki/BlackBook) . Archived from the original (http://www.blackbookmag.com/article/fashion-spotlight-torn-by-ronny-kobo/23689) on December 8, 2010. This article about an American person related to fashion is a stub (/wiki/Wikipedia:Stub) . You can help Wikipedia by expanding it (https://en.wikipedia.org/w/index.php?title=Ronny_Kobo&action=edit) . v t e This article about a fashion designer (/wiki/Fashion_designer) is a stub (/wiki/Wikipedia:Stub) . 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Latvian entrepreneur and the Founder and CEO of DOORS NYC Review waiting, please be patient. This may take 3 months or more, since drafts are reviewed in no specific order. There are 2,807 pending submissions waiting for review (/wiki/Category:Pending_AfC_submissions) . If the submission is accepted , then this page will be moved into the article space. If the submission is declined , then the reason will be posted here. In the meantime, you can continue to improve this submission by editing normally. Where to get help If you need help editing or submitting your draft , please ask us a question at the AfC Help Desk or get live help (/wiki/Wikipedia:IRC_help_disclaimer) from experienced editors. These venues are only for help with editing and the submission process, not to get reviews. 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Please cite (/wiki/Wikipedia:Citing_sources) your sources using footnotes (/wiki/Help:Footnotes) . For instructions on how to do this, please see Referencing for beginners (/wiki/Help:Referencing_for_beginners) . Thank you. Declined by DoubleGrazing (https://en.wikipedia.org/wiki/User:DoubleGrazing) 5 months ago. Comment: Mentioning the subject in sources is not part of WP:SIGCOV (/wiki/Wikipedia:SIGCOV) . Please read more about WP:RS (/wiki/Wikipedia:RS) which summarizes the meaning of reliable sources. Familiarize yourself with that and improve the article before resubmitting again. Regards! Safari Scribe (/wiki/User:SafariScribe) Edits! Talk! 18:03, 15 April 2024 (UTC) Alise Trautmane-Uzuner [ edit ] Alise Trautmane-Uzuner (born October 13, 1980, in Riga, Latvia (/wiki/Riga) ) is a Latvian designer [1] (#cite_note-1) , entrepreneur, educator, and the Founder and CEO of DOORS NYC. [2] (#cite_note-2) Early Life and Education [ edit ] Alise Trautmane-Uzuner was born in Riga, Latvia. She pursued her passion for fashion design and relocated to New York City in 2015. Trautmane-Uzuner honed her skills at Parsons The New School for Design, graduating in 2017. [3] (#cite_note-3) Career [ edit ] Fashion Design [ edit ] Trautmane-Uzuner gained recognition in the fashion industry with her womenswear fashion brand, NARCISS. [4] (#cite_note-4) [5] (#cite_note-5) She was awarded "Designer of the Year" by the Baltic Fashion Federation on three occasions. [6] (#cite_note-:0-6) Entrepreneurship [ edit ] In her entrepreneurial journey, Trautmane-Uzuner co-founded and managed DREEMS (Dreams on Air) [7] (#cite_note-7) , a self-funded membership-based fashion platform. [8] (#cite_note-8) Following this, she founded DOORS NYC, a membership-based omnichannel platform offering serviced retail, PR, and e-commerce for independent fashion and accessories designers to grow their brands in the United States. [9] (#cite_note-9) The DOORS NYC concept store and PR showroom are located in New York's SoHo district. [10] (#cite_note-10) In addition to the flagship store and PR showroom in SoHo, DOORS NYC has executed experiential fashion, art, and beauty pop-ups at other venues in NYC [11] (#cite_note-11) [12] (#cite_note-12) and West Hollywood, Los Angeles. [13] (#cite_note-13) [14] (#cite_note-14) Teaching [ edit ] Alongside her role at DOORS NYC, Trautmane-Uzuner teaches Fashion Public Relations at Parsons The New School for Design. [15] (#cite_note-15) She is also a visiting professor at Iéseg School of Management, teaching at the Fashion Business Summer Program in Paris, France. [16] (#cite_note-16) Other Roles [ edit ] Trautmane-Uzuner serves as the Regional Co-Director in New York for the Latvian American Chamber of Commerce. [17] (#cite_note-17) Awards and Recognition [ edit ] Trautmane-Uzuner has received the "Designer of the Year" award from the Baltic Fashion Federation three times for her work with NARCISS. [6] (#cite_note-:0-6) References [ edit ] ^ (#cite_ref-1) Faulkner, Ruth (2012-08-17). "IMAGE GALLERY: Narciss looks to double stockist count for spring 13" (https://www.drapersonline.com/news/image-gallery-narciss-looks-to-double-stockist-count-for-spring-13) . Drapers . Retrieved 2024-05-10 . ^ (#cite_ref-2) Esquivel, Lizet (2023-11-21). "POWERFUL WOMEN IN FASHION \| Welum" (https://web.archive.org/web/20240402093425/https://www.ravi.welum.com/article/powerful-women-in-fashion-3/) . Archived from the original (https://www.ravi.welum.com/article/powerful-women-in-fashion-3/) on 2024-04-02 . Retrieved 2024-05-06 . ^ (#cite_ref-3) "NARCISS by Alise Trautmane \| NOT JUST A LABEL" (https://www.notjustalabel.com/narciss-alise-trautmane) . www.notjustalabel.com . Retrieved 2024-05-06 . ^ (#cite_ref-4) Feitelberg, Rosemary (2017-04-17). "Riga Fashion Designers Support Buy-Now Concept for Runway Looks" (https://wwd.com/fashion-news/fashion-scoops/riga-fashion-designers-support-buy-now-concept-for-runway-looks-10868458/) . WWD . Retrieved 2024-05-06 . ^ (#cite_ref-5) Morgan, Philippa (2012-03-15). "The Woman Behind Narciss" (https://www.glamourmagazine.co.uk/article/fashion-interview-with-narciss-designer-alise-trautmane) . Glamour UK . Retrieved 2024-07-03 . ^ Jump up to: a b "\| Baltic Fashion Federation" (https://bffederation.com/news/30-rigas-modes-nedela-ir-noslegusies) . bffederation.com . Retrieved 2024-05-06 . ^ (#cite_ref-7) Feitelberg, Rosemary (2017-03-16). "Dreams on Air Offers Designers Retail Space, Marketing and Incubator" (https://wwd.com/fashion-news/fashion-scoops/dreams-on-air-designers-retail-space-a-showroom-marketing-and-incubator-10845632/) . WWD . Retrieved 2024-04-02 . ^ (#cite_ref-8) Fraser, Kristopher (2019-04-17). "Dreams on Air and Accessories Council partner" (https://fashionunited.com/news/retail/dreams-on-air-and-accessories-council-partner/2019041727328) . FashionUnited . Retrieved 2024-05-06 . ^ (#cite_ref-9) Feitelberg, Rosemary (2022-09-17). "Twenty Four Ukrainian Fashion Brands Unite for Pop-up Store in SoHo Until Oct. 3 – WWD" (https://web.archive.org/web/20220917141921/https://wwd.com/fashion-news/fashion-scoops/nyc-ukraine-fashion-design-soho-store-1235335447/) . Archived from the original (https://wwd.com/fashion-news/fashion-scoops/nyc-ukraine-fashion-design-soho-store-1235335447/) on 2022-09-17 . Retrieved 2024-05-06 . ^ (#cite_ref-10) Baltic, L'Officiel (2022-09-22). "Pop Up UKRAINIAN Designers in NYC" (https://www.lofficielbaltic.com/fashion/pop-up-ukrainian-designers-in-nyc) . L'Officiel Baltic . Retrieved 2024-05-06 . ^ (#cite_ref-11) Wightman-Stone, Danielle (2022-02-10). "Doors. opens month-long NYFW pop-up" (https://fashionunited.ca/news/retail/doors-opens-month-long-nyfw-pop-up/2022021022507) . FashionUnited . Retrieved 2024-07-03 . ^ (#cite_ref-12) Conti, Samantha (2021-09-07). "Doors Sets New York Shop to Promote New Designers, Artists" (https://wwd.com/fashion-news/fashion-features/doors-opens-greene-street-shop-promote-emerging-designers-artists-1234910998/) . WWD . Retrieved 2024-07-03 . ^ (#cite_ref-13) Nishimura, Kate (2022-07-08). "Doors.' LA Pop-Up Makes the Case for Impermanent, Experiential Retail" (https://sourcingjournal.com/topics/retail/retail-los-angeles-doors-metaverse-pop-up-international-fashion-brands-352169/) . Sourcing Journal . Retrieved 2024-07-03 . ^ (#cite_ref-14) Shultz, Tyler (June 9, 2022). "doors. Opens Fourth Experiential Pop-Up in Los Angeles" (http://www.apparelnews.net/news/2022/jun/09/doors-opens-fourth-experiential-pop-los-angeles/) . www.apparelnews.net . Retrieved 2024-07-03 . ^ (#cite_ref-15) "Alise Trautmane-Uzunera \| Parsons School of Design" (https://www.newschool.edu/parsons/faculty/alise-trautmane-uzunera/) . www.newschool.edu . Retrieved 2024-01-23 . ^ (#cite_ref-16) Management, IESEG School of; ANDREOSSO, Anais. "Fashion Business Summer Program" (https://www.ieseg.fr/en/programs/short-term-programs/fashion-business-summer-program/program/) . IÉSEG . Retrieved 2024-06-24 . ^ (#cite_ref-17) "Alise Trautmane-Uzuner – Latvian American Chamber of Commerce" (https://latvianchamber.com/alise-trautmane-uzuner/) . latvianchamber.com . Retrieved 2024-05-06 . 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Hairstyles of Japanese women have been varied throughout history. Since the 7th century, Japanese (/wiki/Japanese_people) noblewomen have sought out elaborate and structured ways to wear their hair to show off their elite status. This included hairdos built of wax, ribbons, combs, hair picks, and flowers. Kepatsu- a Chinese inspired style [ edit ] Kepatsu The noblewomen of the early 7th century would wear their hair "very high and boxy at the front, with a sickle-shaped ponytail at the back, sometimes called "hair bound with a red string."" [1] (#cite_note-1) They would call this hairstyle "kepatsu" because it was inspired by the Chinese fashion of the era. Taregami [ edit ] The noblewomen of Japan started to abandon Chinese fashions and create their own style of sense and practicality. This occurred around 794 and lasted about 1345, during Heian period (/wiki/Heian_period) . The style at this time was to wear long, loose, straight hair. "Floor-length black tresses were considered the height of beauty." [2] (#cite_note-2) The 11th-century novel The Tale of Genji (/wiki/The_Tale_of_Genji) ( 源氏物語 , Genji monogatari ) describes women showing off their long, flowing hair. Tosa Mitsuoki—Portrait of Murasaki Shikibu. Taregami Shimada mage [ edit ] This hairstyle first appeared during the Edo period (/wiki/Edo_period) . Women began putting wax in their hair and pulling back a number of different buns and decorated it by adding combs, sticks, sometimes even flower and ribbons. This version is relatively simple compared to what would come in later years of this style. This was the main style of a Geisha (/wiki/Geisha) "Those who would wear this hairstyle during this period were young and ordinary women. Variants of the shimada are the Taka Shimada, Tsubushi Shimada, Uiwata, Momoware, and Torobin Shimada. The Taka Shimada is a stylish knot of hair more than it is a bun, sported by newlyweds. An older woman would wear the Tsubushi Shimada, which was a flat kind of Taka Shimada. The Uiwata differentiates itself because of the use of colored cotton crepe that ties it together. The Momoware holds a bun up, that is crossed by a section of hair, giving the impression of a peach that is cut in half. The Torobin Shimada was the most elaborate of them all, with extra folds of hair that would widely stick out on the sides, resembling a Toro lantern." [3] (#cite_note-3) Shimada mage See also [ edit ] List of hairstyles (/wiki/List_of_hairstyles) References [ edit ] ^ (#cite_ref-1) history, Kallie Szczepanski Kallie Szczepanski has a Ph D. in; College, Has Taught at the; U.S, high school level in both the; Korea. "10 Gorgeous Ancient Hairstyles Worn by Japanese Women" (https://www.thoughtco.com/japanese-womens-hairstyles-through-the-ages-195583) . ThoughtCo . Retrieved 2019-11-12 . ^ (#cite_ref-2) history, Kallie Szczepanski Kallie Szczepanski has a Ph D. in; College, Has Taught at the; U.S, high school level in both the; Korea. "10 Gorgeous Ancient Hairstyles Worn by Japanese Women" (https://www.thoughtco.com/japanese-womens-hairstyles-through-the-ages-195583) . ThoughtCo . Retrieved 2019-11-12 . ^ (#cite_ref-3) Writers, YABAI. "A Snip of The Story Behind Japan's Fashionable Haircuts \| YABAI - The Modern, Vibrant Face of Japan" (http://yabai.com/p/3548) . YABAI . Retrieved 2019-11-12 . v t e Human hair (/wiki/Hair) Classification by type Lanugo (/wiki/Lanugo) Body (/wiki/Body_hair) Terminal (/wiki/Terminal_hair) Vellus (/wiki/Vellus_hair) by location Body (/wiki/Body_hair) Ear (/wiki/Ear_hair) Nose (/wiki/Nasal_hair) Eyebrow (/wiki/Eyebrow) unibrow (/wiki/Unibrow) Eyelash (/wiki/Eyelash) Underarm (/wiki/Underarm_hair) Chest (/wiki/Chest_hair) Abdominal (/wiki/Abdominal_hair) Pubic (/wiki/Pubic_hair) Leg (/wiki/Leg_hair) Head hairstyles (/wiki/Hairstyle) ( list (/wiki/List_of_hairstyles) ) Afro (/wiki/Afro) Afro puffs (/wiki/Afro_puffs) Asymmetric cut (/wiki/Asymmetric_cut) Bald (/wiki/Hair_loss) Bangs (/wiki/Bangs_(hair)) Beehive (/wiki/Beehive_(hairstyle)) Big hair (/wiki/Big_hair) Blowout (/wiki/Long_hair) Bob cut (/wiki/Bob_cut) Bouffant (/wiki/Bouffant) Bowl cut (/wiki/Bowl_cut) Braid (/wiki/Braid_(hairstyle)) Brush, butch, burr cut (/wiki/Brush_cut) Bun (/wiki/Bun_(hairstyle)) ( odango (/wiki/Bun_(hairstyle)) ) Bunches (/wiki/Bunches) Businessman cut (/wiki/Regular_haircut) Butterfly haircut (/wiki/Butterfly_haircut) Buzz cut (/wiki/Buzz_cut) Caesar cut (/wiki/Caesar_cut) Chignon (/wiki/Chignon_(hairstyle)) Chonmage (/wiki/Chonmage) Comb over (/wiki/Comb_over) Conk (/wiki/Conk) Cornrows (/wiki/Cornrows) Crew cut (/wiki/Crew_cut) Crochet braids (/wiki/Crochet_braids) Croydon facelift (/wiki/Croydon_facelift) Curly hair (/wiki/Curly_hair) Curtained hair (/wiki/Curtained_hair) Czupryna (/wiki/Czupryna) Devilock (/wiki/Devilock) Dido flip (/wiki/Dido_flip) Digital perm (/wiki/Digital_perm) Dreadlocks (/wiki/Dreadlocks) Ducktail (/wiki/Ducktail) Edgar cut (/wiki/Edgar_cut) Eton crop (/wiki/Eton_crop) Extensions (/wiki/Artificial_hair_integrations) Fauxhawk (/wiki/Mohawk_hairstyle) Feathered hair (/wiki/Feathered_hair) Finger wave (/wiki/Finger_wave) Flattop (/wiki/Flattop) Fontange (/wiki/Fontange) French braid (/wiki/French_braid) French twist (/wiki/French_twist_(hairstyle)) Fringe (/wiki/Fringe_(hair)) Frosted tips (/wiki/Frosted_tips) Hair crimping (/wiki/Hair_crimping) Hair twists (/wiki/Hair_twists) High and tight (/wiki/High_and_tight) Hime cut (/wiki/Hime_cut) Historical Christian hairstyles (/wiki/Historical_Christian_hairstyles) Hi-top fade (/wiki/Hi-top_fade) Induction cut (/wiki/Induction_cut) Ivy League, Harvard, Princeton cut (/wiki/Ivy_League_(haircut)) Japanese women Jewfro (/wiki/Jewfro) Jheri curl (/wiki/Jheri_curl) Kinky hair (/wiki/Kinky_hair) Kiss curl (/wiki/Kiss_curl) Laid edges (/wiki/Laid_edges) Layered hair (/wiki/Layered_hair) Liberty spikes (/wiki/Liberty_spikes) Long hair (/wiki/Long_hair) Lob cut (/wiki/Lob_(haircut)) Lovelock (/wiki/Lovelock_(hair)) Marcelling (/wiki/Marcelling) Mod cut (/wiki/Wings_(haircut)) Mohawk (/wiki/Mohawk_hairstyle) Mullet (/wiki/Mullet_(haircut)) 1950s (/wiki/Hairstyles_in_the_1950s) 1980s (/wiki/Hairstyles_in_the_1980s) Pageboy (/wiki/Pageboy) Part (/wiki/Part_(haircut)) Payot (/wiki/Payot) Pigtail (/wiki/Pigtail) Pixie cut (/wiki/Pixie_cut) Pompadour (/wiki/Pompadour_(hairstyle)) Ponytail (/wiki/Ponytail) Punch perm (/wiki/Punch_perm) Professional cut (/wiki/Regular_haircut) Queue (/wiki/Queue_(hairstyle)) Quiff (/wiki/Quiff) Rattail (/wiki/Rattail_(hairstyle)) Razor cut (/wiki/Razor_cut) Regular haircut (/wiki/Regular_haircut) Ringlets (/wiki/Ringlet_(haircut)) Shag (/wiki/Shag_(haircut)) Shape-up (/wiki/Shape-up) Shikha (/wiki/Shikha_(hairstyle)) Shimada (/wiki/Shimada_(hairstyle)) Short back and sides (/wiki/Regular_haircut) Short brush cut (/wiki/Brush_cut) Short hair (/wiki/Short_hair) Spiky hair (/wiki/Liberty_spikes) Straight hair (/wiki/Straight_hair) Standard haircut (/wiki/Regular_haircut) Step cut (/wiki/Step_cutting) Surfer hair (/wiki/Surfer_hair) Taper cut (/wiki/Regular_haircut) Temple fade (/wiki/Temple_fade_(hairstyle)) Titus cut (/wiki/Titus_cut) Tonsure (/wiki/Tonsure) Updo (/wiki/Updo) Undercut (/wiki/Undercut_(hairstyle)) Victory rolls (/wiki/Victory_rolls) Waves (/wiki/Waves_(hairstyle)) Widow's peak (/wiki/Widow%27s_peak) Wings (/wiki/Wings_(haircut)) Facial hair (/wiki/Facial_hair) ( list (/wiki/List_of_facial_hairstyles) ) Beard (/wiki/Beard) Chinstrap (/wiki/Chinstrap_beard) Goatee (/wiki/Goatee) Ned Kelly (/wiki/Ned_Kelly_beard) Shenandoah (/wiki/Shenandoah_(beard)) Soul patch (/wiki/Soul_patch) Van Dyke (/wiki/Van_Dyke_beard) Moustache (/wiki/Moustache) Fu Manchu (/wiki/Fu_Manchu_moustache) handlebar (/wiki/Handlebar_moustache) horseshoe (/wiki/Horseshoe_moustache) pencil (/wiki/Pencil_moustache) toothbrush (/wiki/Toothbrush_moustache) walrus (/wiki/Walrus_moustache) Designer stubble (/wiki/Designer_stubble) Sideburns (/wiki/Sideburns) Hair subtraction cosmetic Removal (/wiki/Hair_removal) waxing (/wiki/Waxing) threading (/wiki/Threading_(epilation)) plucking (/wiki/Plucking_(hair_removal)) chemical (/wiki/Chemical_depilatory) electric (/wiki/Electrology) laser (/wiki/Laser_hair_removal) IPL (/wiki/Intense_pulsed_light) Shaving (/wiki/Shaving) head (/wiki/Head_shaving) leg (/wiki/Leg_shaving) cream (/wiki/Shaving_cream) brush (/wiki/Shaving_brush) soap (/wiki/Shaving_soap) Razor (/wiki/Razor) electric (/wiki/Electric_shaver) safety (/wiki/Safety_razor) straight (/wiki/Straight_razor) disorders Alopecia (/wiki/Hair_loss) areata (/wiki/Alopecia_areata) totalis (/wiki/Alopecia_totalis) universalis (/wiki/Alopecia_universalis) Frictional alopecia (/wiki/Frictional_alopecia) Pattern hair loss (/wiki/Pattern_hair_loss) Hypertrichosis (/wiki/Hypertrichosis) Management (/wiki/Management_of_hair_loss) Trichophilia (/wiki/Trichophilia) Trichotillomania (/wiki/Trichotillomania) Pogonophobia (/wiki/Pogonophobia) Haircare products Brush (/wiki/Hairbrush) Clay (/wiki/Hair_clay) Clipper (/wiki/Hair_clipper) Comb (/wiki/Comb) Conditioner (/wiki/Hair_conditioner) Dryer (/wiki/Hair_dryer) Gel (/wiki/Hair_gel) Hairstyling products (/wiki/Hairstyling_product) Hot comb (/wiki/Hot_comb) Iron (/wiki/Hair_iron) Mousse (/wiki/Hair_mousse) Pomade (/wiki/Pomade) Relaxer (/wiki/Relaxer) Rollers (/wiki/Hair_roller) Shampoo (/wiki/Shampoo) Spray (/wiki/Hair_spray) Volumizer (/wiki/Hair_volumizer) Wax (/wiki/Hair_wax) Haircare techniques Backcombing (/wiki/Backcombing) Hair coloring (/wiki/Hair_coloring) Crimping (/wiki/Hair_crimping) Curly Girl Method (/wiki/Curly_Girl_Method) Hair cutting (/wiki/Hair_cutting) Perm (/wiki/Perm_(hairstyle)) Shampoo and set (/wiki/Shampoo_and_set) Straightening (/wiki/Hair_straightening) Health and medical Greying of hair (/wiki/Greying_of_hair) Hair follicle (/wiki/Hair_follicle) Hair growth (/wiki/Human_hair_growth) Trichology (/wiki/Trichology) Related Andre Walker Hair Typing System (/wiki/Andre_Walker_Hair_Typing_System) Beard and haircut laws by country (/wiki/Beard_and_haircut_laws_by_country) Bearded lady (/wiki/Bearded_lady) Barber (/wiki/Barber) ( pole (/wiki/Barber%27s_pole) ) Eponymous hairstyle (/wiki/Eponymous_hairstyle) Frizz (/wiki/Frizz) Good hair (/wiki/Good_hair) Hairdresser (/wiki/Hairdresser) list 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Hungarian fashion model This biography of a living person (/wiki/Wikipedia:Biographies_of_living_persons) needs additional citations (/wiki/Wikipedia:Citing_sources) for verification (/wiki/Wikipedia:Verifiability) . Please help by adding reliable sources (/wiki/Wikipedia:Reliable_sources) . Contentious material (/wiki/Wikipedia:BLPREMOVE) about living persons that is unsourced or poorly sourced (/wiki/Wikipedia:QUESTIONABLE) must be removed immediately from the article and its talk page, especially if potentially libelous (/wiki/Wikipedia:Libel) . Find sources: "Vanessa Axente" (https://www.google.com/search?as_eq=wikipedia&q=%22Vanessa+Axente%22) – news (https://www.google.com/search?tbm=nws&q=%22Vanessa+Axente%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Vanessa+Axente%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Vanessa+Axente%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Vanessa+Axente%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Vanessa+Axente%22&acc=on&wc=on) ( February 2019 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) The native form of this personal name (/wiki/Personal_name) is Axente Vanessa . This article uses Western name order (/wiki/Personal_name#Western_name_order) when mentioning individuals. Vanessa Axente Axente at New York Fashion Week (/wiki/New_York_Fashion_Week) in September 2013. Born ( 1995-11-19 ) 19 November 1995 (age 28) Nagylengyel (/wiki/Nagylengyel) , Hungary Spouse Rahil Gupta ( m. 2020) [2] (#cite_note-2) Modeling information Height 1.82 m (5 ft 11 + 1 ⁄ 2 in) Hair color Blond Eye color Blue Agency Mother Agency: Attractive Models DNA Model Management (New York) VIVA Model Management (/wiki/VIVA_Model_Management) (Paris, London, Barcelona) Why Not Model Management (/wiki/Why_Not_Model_Management) (Milan) AVE. Management (Singapore) Donna Models (Tokyo) [1] (#cite_note-1) Vanessa Axente (born 19 November 1995) [3] (#cite_note-FMD-3) is a Hungarian fashion model (/wiki/Fashion_model) . Early life [ edit ] Vanessa Axente was born in Nagylengyel (/wiki/Nagylengyel) , Hungary (/wiki/Hungary) . [4] (#cite_note-Another-4) Her older sister, Benedetta, a model, was the one who convinced her to visit her agency in Budapest, and start modeling. [5] (#cite_note-NYmag-5) She worked extensively in Hungary, Singapore and Japan from the age of 14, until she turned 16 and decided to break into the European fashion market. [5] (#cite_note-NYmag-5) Career [ edit ] Axente started her career with the agency Attractive Models in 2009 and then signed with VIVA Model Management (/wiki/VIVA_Model_Management) Paris in November 2011 and in January 2012, with DNA Model Management in New York. [6] (#cite_note-Fashion_Spot-6) 2012 [ edit ] In February 2012, Axente opened the Fall 2012 Prada (/wiki/Prada) show in Milan as an exclusive, kickstarting her career. [5] (#cite_note-NYmag-5) In Paris, she walked shows such as: Dries van Noten (/wiki/Dries_van_Noten) , Givenchy (/wiki/Givenchy) , Christian Dior S.A. (/wiki/Christian_Dior_S.A.) , Nina Ricci (/wiki/Nina_Ricci_(brand)) , Louis Vuitton (/wiki/Louis_Vuitton) , and Miu Miu (/wiki/Miu_Miu) . [7] (#cite_note-MDC-7) Axente opened the Céline (/wiki/C%C3%A9line_(brand)) and Valentino (/wiki/Valentino_SpA) shows that same season. [8] (#cite_note-8) [9] (#cite_note-9) [10] (#cite_note-nymagmodelprofile-10) That same year she was featured in the Fall 2012 Prada (/wiki/Prada) campaign alongside industry heavyweights Magdalena Frackowiak (/wiki/Magdalena_Frackowiak) , Iselin Steiro (/wiki/Iselin_Steiro) and Anne Vyalitsyna (/wiki/Anne_Vyalitsyna) . [11] (#cite_note-11) She was promptly booked on an exclusive with world-renowned photographer, Steven Meisel (/wiki/Steven_Meisel) . She appeared on the cover of Vogue Italia (/wiki/Vogue_Italia) July 2012, an editorial in Vogue Italia August 2012, and the cover once again in December 2012 all shot by Meisel. [12] (#cite_note-12) [13] (#cite_note-13) [14] (#cite_note-14) Axente was featured on the cover of Vogue Italia again for the March 2013 issue alongside male model, Gustav Swedberg, shot once more by Steven Meisel. She was featured once again in the January 2014 issue of Vogue Italia . [ citation needed ] 2013 [ edit ] During the Spring 2013 fashion week in New York, she walked shows such as Alexander Wang (/wiki/Alexander_Wang_(designer)) , Calvin Klein (/wiki/Calvin_Klein) , Tommy Hilfiger (/wiki/Tommy_Hilfiger) , opened the Donna Karan (/wiki/Donna_Karan) show, and closed the Proenza Schouler (/wiki/Proenza_Schouler) and Victoria Beckham (/wiki/Victoria_Beckham) shows. [7] (#cite_note-MDC-7) She was booked as a city exclusive for Giles (/wiki/Giles_Deacon) in London. In Milan, Axente was booked exclusively for Prada (/wiki/Prada) once more, but continued to walk the shows in Paris the next week, including opening the Alexander McQueen (/wiki/Alexander_McQueen) fashion show. That same year she was featured in the Spring 2013 Prada campaign alongside industry icons Amber Valletta (/wiki/Amber_Valletta) , Eva Herzigova (/wiki/Eva_Herzigova) , Sasha Pivovarova (/wiki/Sasha_Pivovarova) , Raquel Zimmermann (/wiki/Raquel_Zimmermann) and Saskia de Brauw (/wiki/Saskia_de_Brauw) . [15] (#cite_note-15) She appeared on the cover of Vogue Japan February 2013 shot by Patrick Demarchelier (/wiki/Patrick_Demarchelier) . [7] (#cite_note-MDC-7) For the Fall 2013 season, Axente was a semi-exclusive for the Alexander Wang (/wiki/Alexander_Wang_(designer)) show, opened the Marc by Marc Jacobs (/wiki/Marc_by_Marc_Jacobs) show, and closed the Narciso Rodriguez (/wiki/Narciso_Rodriguez) show, in New York. She was booked as a city exclusive for Tom Ford (/wiki/Tom_Ford) in London, and for unknown reasons skipped Milan fashion week entirely. She continued on to Paris where she was a semi-exclusive for Balenciaga (/wiki/Balenciaga) and closed the Alexander McQueen and Miu Miu (/wiki/Miu_Miu) shows. That same year she was featured in the Fall 2013 Calvin Klein (/wiki/Calvin_Klein) campaign as an only girl, which was photographed by Mert and Marcus (/wiki/Mert_and_Marcus) . [7] (#cite_note-MDC-7) [16] (#cite_note-16) 2014–present [ edit ] For the Spring 2014 season, Axente was once again a semi-exclusive model for the Alexander Wang (/wiki/Alexander_Wang_(designer)) show, opened the Tommy Hilfiger (/wiki/Tommy_Hilfiger) and Donna Karan (/wiki/Donna_Karan) shows, and closed the Marc by Marc Jacobs (/wiki/Marc_by_Marc_Jacobs) show in New York. She then skipped London fashion week entirely. In Milan she went on to walk for Prada (/wiki/Prada) again, and made her runway debut for Versace (/wiki/Versace) , Gucci (/wiki/Gucci) , Fendi (/wiki/Fendi) and Jil Sander (/wiki/Jil_Sander) . [7] (#cite_note-MDC-7) She then continued on to Paris where she opened the Sacai show. [17] (#cite_note-17) She appeared on the cover of Vogue (/wiki/Vogue_(magazine)) Germany for the first time in October 2013, which was shot by Luigi & Daniele + Iango. [7] (#cite_note-MDC-7) [18] (#cite_note-18) For Spring 2014, she again landed the Calvin Klein (/wiki/Calvin_Klein) campaign photographed by Mert & Marcus (/wiki/Mert_and_Marcus) , Calvin Klein (/wiki/Calvin_Klein) Jeans by Mario Sorrenti, and the Calvin Klein (/wiki/Calvin_Klein) Endless Euphoria fragrance by Steven Meisel. For the Fall 2014 season, Axente was an exclusive model for the Calvin Klein Collection (/wiki/Calvin_Klein_Collection) show in New York and opened the H&M (/wiki/H%26M) show in Paris. She was featured on the cover of Vogue (/wiki/Vogue_(magazine)) Japan for the second time in May 2014, which was shot by Willy Vanderperre (/w/index.php?title=Willy_Vanderperre&action=edit&redlink=1) . [7] (#cite_note-MDC-7) [19] (#cite_note-19) In the same year she was also featured in the Fall 2014 Calvin Klein campaign (her third in a row), which was photographed by David Sims (/wiki/David_Sims_(photographer)) . [20] (#cite_note-20) She was featured on the cover of Vogue (/wiki/Vogue_(magazine)) Germany in September 2014 shot by Daniel Jackson. She also appeared on the American Vogue September issue cover, which was shot by Mario Testino (/wiki/Mario_Testino) . [7] (#cite_note-MDC-7) [21] (#cite_note-21) In 2014, she was ranked as a top model in the Models.com Top 50 Models list. [7] (#cite_note-MDC-7) She has been featured on 8 different Vogue (/wiki/Vogue_(magazine)) covers as of September 2014. [7] (#cite_note-MDC-7) [22] (#cite_note-22) References [ edit ] ^ (#cite_ref-1) "Vanessa Axente - Model" (https://models.com/models/vanessa-axente) . ^ (#cite_ref-2) “This Model Spontaneously Chose To Get Married In A Bianca Jagger-Style Bridal Suit” (https://www.vogue.co.uk/fashion/article/vanessa-axente-wedding) Vogue UK [24-01-2021] ^ (#cite_ref-FMD_3-0) "Vanessa Axente" (http://www.fashionmodeldirectory.com/models/Vanessa_Axente/) . FashionModelDirectory.com . FMD (/wiki/Fashion_Model_Directory) . Retrieved 2013-02-16 . ^ (#cite_ref-Another_4-0) "Model Debut: Vanessa Axente" (https://www.anothermag.com/art-photography/1877/model-debut-vanessa-axente) . Another Magazine. 11 April 2012 . Retrieved 2019-07-24 . ^ Jump up to: a b c Lim, James (March 15, 2012). "Meet the New Girl: Vanessa Axente Is Workin' on Her Fitness With Celebrity Trainer Tracy Anderson" (https://nymag.com/thecut/2012/03/meet-the-new-girl-pradas-vanessa-axente.html) . NYmag.com . New York Magazine (/wiki/New_York_Magazine) . Retrieved 2013-02-16 . ^ (#cite_ref-Fashion_Spot_6-0) "Vanessa Axente" (http://forums.thefashionspot.com/f52/vanessa-axente-121885-2.html) . Fashion Spot . Retrieved 2013-02-16 . ^ Jump up to: a b c d e f g h i j "Vanessa Axente - Model Profile - Photos" (http://models.com/models/Vanessa-Axente) . Models.com . Retrieved 2014-01-04 . ^ (#cite_ref-8) "LOOK1 FALL 2012 READY-TO-WEAR Valentino" (http://www.style.com/fashionshows/complete/slideshow/F2012RTW-VALENTIN/#1) . style.com . Conde Nast Publications . Retrieved 4 January 2014 . ^ (#cite_ref-9) "LOOK1 FALL 2012 READY-TO-WEAR Céline" (http://www.style.com/fashionshows/complete/slideshow/F2012RTW-CELINE/#1) . style.com . Conde Nast Publications (/wiki/Conde_Nast_Publications) . Retrieved 4 January 2014 . ^ (#cite_ref-nymagmodelprofile_10-0) "Vanessa Axente" (https://nymag.com/fashion/models/vaxente/vanessaaxente/) . New York (/wiki/New_York_(magazine)) . Retrieved 4 January 2014 . ^ (#cite_ref-11) "Prada F/W 12" (http://models.com/work/prada-prada-fw-12-3) . models.com . models.com . Retrieved 4 January 2014 . ^ (#cite_ref-12) "Vogue Italia July 2012 Cover" (http://models.com/work/vogue-italia-vogue-italia-july-2012-cover) . models.com . models.com . Retrieved 4 January 2014 . ^ (#cite_ref-13) "Vogue Italia December 2012 Cover" (http://models.com/work/vogue-italia-vogue-italia-december-2012-cover) . models.com . models.com . Retrieved 4 January 2014 . ^ (#cite_ref-14) "Vogue Italia: All Dressed up with nowhere to go" (http://models.com/work/vogue-italia-all-dressed-up-with-nowhere-to-go/112367) . models.com . model . Retrieved 4 January 2014 . ^ (#cite_ref-15) "Prada S/S 13" (http://models.com/Work/prada-prada-ss-13-1) . models.com . models.com . Retrieved 4 January 2014 . ^ (#cite_ref-16) "Calvin Klein Collection F/W 13" (http://models.com/work/calvin-klein-calvin-klein-fw-13-3) . models.com . models.com . Retrieved 4 January 2014 . ^ (#cite_ref-17) "LOOK1 SPRING 2014 READY-TO-WEAR Sacai" (http://www.style.com/fashionshows/complete/slideshow/S2014RTW-SACAI/#1) . style.com . Conde Nast Publications (/wiki/Conde_Nast_Publications) . Retrieved 4 January 2014 . ^ (#cite_ref-18) "Vogue Germany October 2013 Cover" (http://models.com/work/vogue-germany-vogue-germany-october-2013-cover) . models.com . models.com . Retrieved 4 January 2014 . ^ (#cite_ref-19) "Vogue Japan May 2014 Cover" (http://models.com/work/vogue-japan-vogue-japan-may-2014-cover/242175) . models.com . models.com . Retrieved 26 April 2014 . ^ (#cite_ref-20) "Calvin Klein Collection F/W 14 (Calvin Klein)" (http://models.com/work/calvin-klein-calvin-klein-collection-fw-14) . ^ (#cite_ref-21) "Vogue Germany September 2014 Cover" (http://models.com/work/vogue-germany-vogue-germany-september-2014-cover/285716) . models.com . models.com . Retrieved 26 April 2014 . ^ (#cite_ref-22) "Vogue Japan May 2014 Cover" (http://models.com/models/vanessa-axente/year/magazine/242175) . models.com . models.com . Retrieved 26 April 2014 . External links [ edit ] Vanessa Axente (https://x.com/VanessaAxente) on X (/wiki/X_(social_network)) Vanessa Axente (https://www.instagram.com/vanessaaxente/) on Instagram (/wiki/Instagram_(identifier)) Vanessa Axente (https://www.fashionmodeldirectory.com/models/vanessa_axente/) at Fashion Model Directory (/wiki/Fashion_Model_Directory) Vanessa Axente (https://models.com/models/Vanessa-Axente) on Models.com Meet the New Girl: Vanessa Axente (https://nymag.com/thecut/2012/03/meet-the-new-girl-pradas-vanessa-axente.html) from New York Magazine (/wiki/New_York_Magazine) Model Wall: Vanessa Axente (https://web.archive.org/web/20140415060014/http://www.vogue.com/vogue-daily/article/model-wall-vanessa-axente/#1) from Vogue.com (/wiki/Vogue.com) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐pmbwk Cached time: 20240719204625 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.575 seconds Real time usage: 0.728 seconds Preprocessor visited node count: 3854/1000000 Post‐expand include size: 59254/2097152 bytes Template argument size: 6616/2097152 bytes Highest expansion depth: 18/100 Expensive parser function count: 5/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 81366/5000000 bytes Lua time usage: 0.379/10.000 seconds Lua memory usage: 11756515/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 677.726 1 -total 39.67% 268.825 1 Template:Infobox_model 28.01% 189.809 1 Template:Reflist 24.12% 163.437 21 Template:Cite_web 10.34% 70.073 1 Template:BLP_sources 10.22% 69.246 1 Template:Short_description 9.39% 63.610 1 Template:Ambox 7.03% 47.667 1 Template:Marriage 7.03% 47.625 1 Template:Infobox 6.30% 42.723 2 Template:Pagetype Saved in parser cache with key enwiki:pcache:idhash:38551361-0!canonical and timestamp 20240719204625 and revision id 1197771917. 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Scottish company marketing form-fit one-color body suits AFG Media o/a Morphsuits Company type Private Industry Fancy dress/costume Founded 2009 ( 2009 ) [1] (#cite_note-dex-1) Founder Ali Smeaton, Fraser Smeaton, Gregor Lawson Headquarters Edinburgh (/wiki/Edinburgh) , Scotland , United Kingdom Key people Smeaton, Smeaton, Lawson Products Morphsuits, Morphsuits Kids Revenue £4.5m [2] (#cite_note-bbc-July-2011-2) Owner Smeaton, Smeaton, Lawson Number of employees 22 direct Website www (http://www.morphsuits.com) .morphsuits (http://www.morphsuits.com) .com (http://www.morphsuits.com) Morphsuits is a company in Edinburgh, Scotland (/wiki/Edinburgh,_Scotland) that distributes branded spandex (/wiki/Spandex) costumes that cover the entire body, a brand of zentai suit (/wiki/Zentai_suit) . Offering over 80 different designs, it was founded by brothers Ali and Fraser Smeaton and their flatmate Gregor Lawson. [2] (#cite_note-bbc-July-2011-2) It later added children's sizes, [2] (#cite_note-bbc-July-2011-2) [3] (#cite_note-partypaper-3) called MorphKids, and female-targeted accessories. [2] (#cite_note-bbc-July-2011-2) It is a division of AFG Media, which includes menswear line Foul Fashion and golf wear line Royal & Awesome. [4] (#cite_note-BGF-manufacturer-4) [5] (#cite_note-hattie-5) History [ edit ] Three people in Morphsuits jump for a photoshoot. According to the founders' account, they were inspired to create the company after a one-color costume party in Dublin, to which a friend of the founders was wearing a zentai (/wiki/Zentai) bodysuit. At the event, the friend became somewhat of a celebrity, being bought drinks and posing for hundreds of pictures. [3] (#cite_note-partypaper-3) After researching the fancy dress market, Smeaton, Smeaton, and Lawson invested £1,000 each. [5] (#cite_note-hattie-5) The original corporate website cost $300. [3] (#cite_note-partypaper-3) Beginning in May 2009, [5] (#cite_note-hattie-5) shipping of the first batch of 200 costumes was done from their flat. [3] (#cite_note-partypaper-3) [5] (#cite_note-hattie-5) Balancing their day jobs and the company meant "a lot of 2 a.m. finishes" while running their business. As of August 2011, outsourcing had raised their indirect staffing to 200. [3] (#cite_note-partypaper-3) As of late 2012, suits were manufactured in Shanghai (/wiki/Shanghai) . [5] (#cite_note-hattie-5) The company received a boost to its sales when the 2009 British Lions tour of South Africa, at which eight fans wore red Morphsuits, was covered extensively by sports journalists (/wiki/Sports_journalism) and photographers. [6] (#cite_note-tax-6) Many early mainstream appearances of similar suits in North America were not their brand: The Green Men (/wiki/The_Green_Men) , two fans of the Vancouver Canucks (/wiki/Vancouver_Canucks) NHL team, used Super Fan Suits, [7] (#cite_note-Canucks-7) as do hip-hop group The Body Poets, [8] (#cite_note-lucrative-8) [9] (#cite_note-9) while appearances on It's Always Sunny in Philadelphia (/wiki/It%27s_Always_Sunny_in_Philadelphia) [10] (#cite_note-taranakinews-10) predate either brand's founding. [ improper synthesis? ] UK-based Remix Monkeys, in 2011. The group used Morphsuits in their street dance routines. As of August 2011, there were 40 varieties, [3] (#cite_note-partypaper-3) and 50 as of September 2011. [6] (#cite_note-tax-6) MorphKids, a child's-sized line, was launched in the United States before any other market. The company sold 35,000 units in 48 hours. [11] (#cite_note-11) Around Halloween 2012, a psychologist noted increased confidence and social skills in children wearing the outfits, and an "overall calming effect" in children with autism (/wiki/Autism) . [12] (#cite_note-12) As of April 2013, the company stated it expected MorphKids to outstrip the parent brand four-fold. [4] (#cite_note-BGF-manufacturer-4) In October 2012, Morphsuits launched their first licensed design, featuring Saban (/wiki/Saban_Entertainment) 's Mighty Morphin' Power Rangers (/wiki/Mighty_Morphin%27_Power_Rangers) ; [13] (#cite_note-2012-10-15-Power-Rangers-13) the company claims the costumes were the "best-selling item" in their history. [14] (#cite_note-14) With their investment from BFG, they hoped to pursue the Spider-Man (/wiki/Spider-Man) license, deeming licenses "fundamental to the business's future success." [5] (#cite_note-hattie-5) In 2013 Morphsuits added "Animal Planet" Morphsuits, including a Vampire Bat with fabric wings connected to the arms, and a Cobra with a neck frill. Other products include the head-only lycra Morphmask and Megamorph, an inflated suit with lycra over the head, hands, and feet. [5] (#cite_note-hattie-5) Corporate [ edit ] As of May 2011, it claimed to be the world's largest fancy dress brand. [15] (#cite_note-2011-05-11-15) As of 2011, Gregor Lawson had worked in brand management for eight years. Trained with " FMCG (/wiki/Fast-moving_consumer_goods) marketing" (fast-moving consumer goods) at Gillette and later Procter & Gamble, he led marketing on Pantene, Pringles, and Gillette. He left P&G in July 2010. [15] (#cite_note-2011-05-11-15) Lawson is brother of rugby union player Rory Lawson (/wiki/Rory_Lawson) , son of rugby union player Alan Lawson (/wiki/Alan_Lawson) , and grandson of rugby union commentator Bill McLaren (/wiki/Bill_McLaren) . [6] (#cite_note-tax-6) In their first year, the company sold 20,000 costumes, bringing in £1.2 million. [2] (#cite_note-bbc-July-2011-2) Between January and October 2010, the company shipped 10,000 units to Canada. [16] (#cite_note-tgam-2010-16) In the 2010-2011 financial year, they did £4.5m in sales. [2] (#cite_note-bbc-July-2011-2) They expect £10.5m in revenue in the 2011-2012 fiscal year. [2] (#cite_note-bbc-July-2011-2) In October 2010, Morphsuits gave 2011 estimates of £6 million; by July 2011, they told the BBC of a year-end estimate of £10 million. [2] (#cite_note-bbc-July-2011-2) The company sold an initial order of 100,000 Morphsuits to retail chain Party City (/wiki/Party_City) . [2] (#cite_note-bbc-July-2011-2) [6] (#cite_note-tax-6) The company expect sales of £309,980 in October 2012. [17] (#cite_note-17) Fiscal year Units sold Revenue 2009–10 50,000 [2] (#cite_note-bbc-July-2011-2) £1.2m [2] (#cite_note-bbc-July-2011-2) 2010–11 250,000 [2] (#cite_note-bbc-July-2011-2) £4.5m [2] (#cite_note-bbc-July-2011-2) or £4.2m [18] (#cite_note-macleod-18) As of 2011, the partners had no direct employees, with all roles being outsourced. As of summer 2011, that included a Chinese manufacturer, warehouses in the United States, United Kingdom, and Australia, and a customer contact centre in Fife (/wiki/Fife) . [2] (#cite_note-bbc-July-2011-2) In 2012, Mishal Verjee was added as Marketing Director. [13] (#cite_note-2012-10-15-Power-Rangers-13) One September 2012 article cited AFG in employing 21 staff at five sites worldwide, but did not clarify if they were direct or outsourced. [5] (#cite_note-hattie-5) The founding entrepreneurs have spoken publicly about their dislike for UK tax rules, which make "company owners pay 40 percent on any sum taken out in dividends above £35,000, against only 10 percent if they were to sell their business." They have suggested incentives to expand operations would be more beneficial than "inducements" to sell their company (/wiki/Takeover) . [6] (#cite_note-tax-6) The company received overtures from private equity investors in 2011, since their Ernst & Young Entrepreneur of the Year Awards (/wiki/Ernst_%26_Young_Entrepreneur_of_the_Year_Award) nomination in Scotland, that year; they have suggested the business has kept them too busy to consider any of the offers. [6] (#cite_note-tax-6) In February 2012, the company (as AFG Media) received a £600,000 loan from Barclays Corporate (/w/index.php?title=Barclays_Corporate&action=edit&redlink=1) . [19] (#cite_note-19) In July 2012, Business Growth Fund (/wiki/Business_Growth_Fund) invested £4.2 million in AFG, [4] (#cite_note-BGF-manufacturer-4) the size of its stake was unannounced, but their firm generally takes between 10% and 40% of the share capital. [20] (#cite_note-promise-20) The investment was meant to help product development, the MorphKids line, and develop supply chain as the company looks to expand in the US, Europe, Mexico, Russia, Japan and China. [4] (#cite_note-BGF-manufacturer-4) [20] (#cite_note-promise-20) Ralph Kugler (/w/index.php?title=Ralph_Kugler&action=edit&redlink=1) was introduced as chairman of the company's board, [4] (#cite_note-BGF-manufacturer-4) [20] (#cite_note-promise-20) and Duncan Macrae (/w/index.php?title=Duncan_Macrae_(executive)&action=edit&redlink=1) also added to the board. [20] (#cite_note-promise-20) They have a low rate of product return, at just 1%, which they credit to the limited SKU ( stock-keeping unit (/wiki/Stock-keeping_unit) ), allowing them to ensure consistent quality of the product. [3] (#cite_note-partypaper-3) At least some products are sourced through Alibaba (/wiki/Alibaba_Group) . [21] (#cite_note-21) [22] (#cite_note-22) Marketing [ edit ] The Morphsuits branding is on each costume, advertising the company. Gregor Lawson has spoken at seminars about technology and business, about their use of Facebook and e-commerce. [18] (#cite_note-macleod-18) Much of their marketing strategy is based on fans' ideas, a process Fraser Smeaton calls "scrum marketing"; suit designs, potential sales outlets, and competitions have all been dictated by its followers. [1] (#cite_note-dex-1) There are regional sales differences: in the United Kingdom, the product is considered year-round, with a small jump in sales near Halloween. In the United States, sales are much more highly focused at the Halloween season. [3] (#cite_note-partypaper-3) The company runs 13 localized e-commerce websites. [18] (#cite_note-macleod-18) Black is the company's most popular colour. [3] (#cite_note-partypaper-3) The majority of Morphsuits' customers are men, but the company hopes that a new morphsuit model with a built-on tutu (/wiki/Ballet_tutu) will expand female sales. [3] (#cite_note-partypaper-3) The brand has tried to distance itself from the term zentai (/wiki/Zentai) , and the concept of fetish usage. [16] (#cite_note-tgam-2010-16) Being one of the earliest brands to court a general market, the terms "Morphsuits" and "morphs" are regularly applied to events related to any sort of zentai suit. Their term risks becoming a genericized trademark (/wiki/Genericized_trademark) in the process; one New Zealand newspaper refers to a competing brand, Jaskins, as a "one of the main online morphsuit brands." [10] (#cite_note-taranakinews-10) For a while, the website's FAQ page listed the suits as legal globally. This response either ignored or overlooked Anti-mask laws (/wiki/Anti-mask_laws) , such as those in France (/wiki/France) . References [ edit ] ^ Jump up to: a b "The Joy of 'Dex: Interview with Morphsuits" (https://web.archive.org/web/20120109143254/http://nmk.co.uk/article/2011/12/13/the-joy-of-%E2%80%98dex-interview-with-morphsuits) . NMK . London: University of Westminster. 13 December 2011. Archived from the original (http://www.nmk.co.uk/article/2011/12/13/the-joy-of-%E2%80%98dex-interview-with-morphsuits) on January 9, 2012 . Retrieved 19 December 2011 . ^ Jump up to: a b c d e f g h i j k l m n "Edinburgh firm Morphsuits stretches global reach" (https://www.bbc.co.uk/news/uk-scotland-scotland-business-14252711) . BBC.co.uk . London UK. 23 July 2011 . Retrieved 28 September 2011 . ^ Jump up to: a b c d e f g h i j Heugel, Abby (23 August 2011). "Morphsuit Mania" (http://partypaper.com/index.php/magazine/article/morphsuit-mania) . Party and Paper . Sparta MI . Retrieved 29 September 2011 . ^ Jump up to: a b c d e Brown, Tim (28 April 2013). "Business Growth Fund invests £4.2m in fancy dress Morphsuits" (http://www.themanufacturer.com/articles/business-growth-fund-invests-4-2m-in-fancy-dress-morphsuits/) . The Manufacturer . London . Retrieved 7 May 2013 . ^ Jump up to: a b c d e f g h Williams, Hattie (16 September 2012). "How I Made It: Greg Lawson and Fraser Smeaton of AFG Media" (https://web.archive.org/web/20130927103217/http://www.thesundaytimes.co.uk/sto/business/small_business/article1126719.ece) . The Sunday Times . London. Archived from the original (http://www.thesundaytimes.co.uk/sto/business/small_business/article1126719.ece) on 27 September 2013 . Retrieved 8 May 2013 . ^ Jump up to: a b c d e f Kristy Dorsey; Terry Murden (18 September 2011). "Morphsuits trio urge tax changes to help growth". Scotland on Sunday . Edinburgh UK. ^ (#cite_ref-Canucks_7-0) Jory, Derek (January 11, 2010). "Force & Sully" (http://canucks.nhl.com/club/news.htm?id=513183) . Vancouver Canucks (/wiki/Vancouver_Canucks) and the National Hockey League (/wiki/National_Hockey_League) . Retrieved May 25, 2010 . ^ (#cite_ref-lucrative_8-0) Dluzen, Robin (25 July 2011). "SuperFanSuits.com: The Lucrative Business of Full Body Spandex" (http://tincmag.com/2011/12/21/superfansuits-com-the-lucrative-business-of-full-body-spandex/) . TINC Magazine . Chicago IL . Retrieved 25 July 2011 . ^ (#cite_ref-9) Kristen Perez, editor (10 October 2010). The Body Poets- Demo Reel 2010 (streaming video). Event occurs at 2:15 . Retrieved 15 July 2011 . ^ Jump up to: a b "Second skin, secret life" (http://www.stuff.co.nz/taranaki-daily-news/news/4148334/Second-skin-secret-life) . Taranaki Daily News . New Plymouth NZ. 21 September 2010 . Retrieved 15 July 2011 . ^ (#cite_ref-11) Roberts, Katie (11 May 2012). "Morphsuits launches kids range" (https://web.archive.org/web/20120514034406/http://www.toynews-online.biz/news/36173/Morphsuits-launches-kids-range) . ToyNews Online . Hertford UK. Archived from the original (http://www.toynews-online.biz/news/36173/Morphsuits-launches-kids-range) on 2012-05-14 . Retrieved 11 May 2012 . ^ (#cite_ref-12) Hudson, Catherine (22 October 2012). "Trendspotting: Morphsuits" (http://www.madeformums.com/hot-stuff/trendspotting-morphsuits/24019.html) . Made for Mums . London . Retrieved 3 November 2012 . ^ Jump up to: a b Sacco, Dominic (15 October 2012). "Morphsuits launches Power Rangers costumes" (https://web.archive.org/web/20121017112608/http://www.toynews-online.biz/news/37393/Morphsuits-launches-Power-Rangers-costumes) . ToyNews . Hertford, Hertfordshire, UK. Archived from the original (http://www.toynews-online.biz/news/37393/Morphsuits-launches-Power-Rangers-costumes) on 17 October 2012 . Retrieved 3 November 2012 . ^ (#cite_ref-14) "Power Ranger Morphsuits mark shows 20th anniversary" (http://www.atvtoday.co.uk/power-rangers-3829/) . ATV Today . 12 October 2012 . Retrieved 3 November 2012 . ^ Jump up to: a b "Meet the Scholars 2011" (http://www.marketingweek.co.uk/Journals/2011/05/11/Meet-the-Scholars-2011---Final.pdf) (PDF) . The Marketing Academy. 11 May 2011 . Retrieved 29 September 2011 . [ dead link ] ^ Jump up to: a b Bascaramurty, Dakshana (28 October 2010). "Zentai suits – not just fetish wear any more" (https://www.theglobeandmail.com/life/family-and-relationships/halloween/zentai-suits-not-just-fetish-wear-any-more/article1776757/) . The Globe and Mail . Toronto ON . Retrieved 28 September 2011 . ^ (#cite_ref-17) Thomas, Charlie (25 October 2012). "Halloween Helps Bring Retail And Events Back From The Undead" (http://www.huffingtonpost.co.uk/2012/10/24/halloween-helps-bring-retail-and-events-back-from-the-undead_n_2010128.html) . Huffpost Business United Kingdom . Retrieved 3 November 2012 . ^ Jump up to: a b c Terra Incognita Programme (http://www.harpermacleod.co.uk/cms_assets/programmes/Terra_Incognita_programme.pdf) [ permanent dead link ] , Harper McLeod LLP, 5 October 2011 ^ (#cite_ref-19) "Loan to help 'morphsuit' maker meet demand" (https://www.bbc.co.uk/news/uk-scotland-scotland-business-17099341) . BBC News . 20 February 2012. ^ Jump up to: a b c d "BGF sees promise in Morphsuits firm AFG Media" (http://www.growthbusiness.co.uk/news-and-market-deals/fundraising-deals/2110823/bgf-sees-promise-in-morphsuits-firm-afg-media.thtml) . Growth Business . London. 2 July 2012 . Retrieved 8 May 2013 . ^ (#cite_ref-21) Alibaba.com Buyers - Morphsuits , retrieved 2021-04-20 ^ (#cite_ref-22) Macdonald, Neil (2014-09-18). "Bigger than Amazon and eBay, Alibaba set to float" (https://www.channel4.com/news/alibaba-flotation-nyse-jack-ma-china-ebay-amazon-morphsuits) . Channel 4 News . Retrieved 2021-04-20 . External links [ edit ] Media related to Morphsuits (https://commons.wikimedia.org/wiki/Category:Morphsuits) at Wikimedia Commons Official website (http://www.morphsuits.com) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐rj4ts Cached time: 20240719071028 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.461 seconds Real time usage: 0.609 seconds Preprocessor visited node count: 2961/1000000 Post‐expand include size: 51879/2097152 bytes Template argument size: 3896/2097152 bytes Highest expansion depth: 17/100 Expensive parser function count: 4/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 87885/5000000 bytes Lua time usage: 0.259/10.000 seconds Lua memory usage: 6292569/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 554.213 1 -total 42.24% 234.082 1 Template:Reflist 24.83% 137.631 1 Template:Infobox_company 22.77% 126.182 1 Template:Infobox 18.23% 101.055 4 Template:Cite_web 16.73% 92.742 1 Template:Short_description 12.27% 67.994 14 Template:Cite_news 10.15% 56.279 2 Template:Pagetype 7.55% 41.856 3 Template:Fix 6.88% 38.120 1 Template:Synthesis_inline Saved in parser cache with key enwiki:pcache:idhash:33244203-0!canonical and timestamp 20240719071028 and revision id 1216476261. 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American lifestyle brand by Madonna For the documentary, see Madonna: Truth or Dare . Truth or Dare by Madonna Product type Shoes (/wiki/Shoe) , perfumes (/wiki/Perfume) , Produced by ALDO Group (/wiki/ALDO_Group) , Coty (/wiki/Coty,_Inc.) Country United States (/wiki/United_States) Introduced 2011 Discontinued c. 2018 ; 6 years ago ( 2018 ) Related brands Kenzo (/wiki/Kenzo_(brand)) Markets Worldwide Ambassador(s) Madonna (/wiki/Madonna) Truth or Dare by Madonna was a lifestyle brand (/wiki/Lifestyle_brand) by American singer Madonna (/wiki/Madonna) . It was the second enterprise from MG Icon LLC, a joint venture between Madonna, her manager Guy Oseary (/wiki/Guy_Oseary) and Iconix Brand Group (/wiki/Iconix_Brand_Group) . This is the second brand from the venture after Material Girl, which is a fashion line designed by Madonna and her daughter Lourdes and launched in 2010. Initially the line launched with handbags (/wiki/Handbag) , footwear (/wiki/Footwear) , accessories, intimates and fragrances (/wiki/Perfume) . The brand's primary demographic was women in the age range of 27–50 and its commodities would include a variety of apparel. In March 2012, the second product, women's footwear was announced to be launched in the fall of 2012 in association with ALDO Group (/wiki/ALDO_Group) . The first product released was a perfume of the same name, released by Coty, Inc. (/wiki/Coty,_Inc.) and launched in the United States in April 2012 exclusively to Macy's (/wiki/Macy%27s) departmental stores, and globally in May 2012. Madonna wanted to create a contemporary version of her mother's fragrance, and collaborated with perfume maker Stephen Nilsen. She collaborated with Fabien Baron (/wiki/Fabien_Baron) on the promotional activities. Background [ edit ] In November 2011, Madonna (/wiki/Madonna) announced plans of launching her own global lifestyle brand, called Truth or Dare by Madonna; it is her second lifestyle brand following Material Girl with her daughter Lourdes. [1] (#cite_note-launch-1) The architect of the brand is "MG Icon" which is a joint venture between Iconix Brand Group Inc., Madonna and her manager Guy Oseary (/wiki/Guy_Oseary) . The chief executive officer of Iconix Brand Group, Neil Cole, felt that there is enough interest behind fashion brands introduced by Madonna. Drawing the example of the Material Girl brand—which was already a commercial success—Cole believed that there would be high demand for a brand that is endoresed solely by Madonna. [2] (#cite_note-wwd-2) Truth or Dare would be initially launched with handbags, footwear, accessories, intimates and fragrances. Since the Material Girl clothing was aimed at teenagers, Madonna's target for the brand was women in the age range of 27–50. [1] (#cite_note-launch-1) In an interview with Women's Wear Daily (/wiki/Women%27s_Wear_Daily) , Madonna stated her inspiration behind the name Truth or Dare: Over the past several years, I have been approached countless times to create my own brand. The timing is right and I have found great partners in Iconix, who can help translate my vision to reality. I have always been obsessed by fragrance and for years wanted to create something personal that was an expression of me but that other people could relate to as well. Something honest, and yet daring, hence the name Truth or Dare. [2] (#cite_note-wwd-2) Development [ edit ] Cole said that the first plan for the venture includes launch of fragrance and accessories in 2012. Women's Wear Daily had reported in September 2011 that perfume manufacturing company Coty, Inc. (/wiki/Coty,_Inc.) was looking for a possible fragrance deal with Madonna. [2] (#cite_note-wwd-2) A press release (/wiki/Press_release) from the company confirmed the deal and said that the first fragrance for the brand, titled Truth or Dare, will be released in April 2012 exclusively at Macy's (/wiki/Macy%27s) in the United States. Global distribution for the product would begin in May 2012. [3] (#cite_note-news-3) Truth or Dare was confirmed in the press release as a floral perfume, and would be Madonna's first scent to be released. [3] (#cite_note-news-3) The release also described the blend as a mixture of "narcotic florals, balanced with smells of wood (/wiki/Wood) and vanilla (/wiki/Vanilla) ." The bottle was described in the release as "playing the Truth or Dare duality – a classic and sophisticated shape, with modern and edgy detailing". [3] (#cite_note-news-3) Madonna's inspiration behind the perfume was her late mother. [4] (#cite_note-huff-4) She explained that the oldest memory she cherished about her mother was the perfume she put on. Describing the scent as consisting of gardenias and tuberose, Madonna revealed that she carries that perfume everywhere she goes. [4] (#cite_note-huff-4) To create the particular smell that she had in mind, Madonna collaborated with Stephen Nilsen, who had previously produced fragrances for designers like Tommy Hilfiger (/wiki/Tommy_Hilfiger) , Donna Karan (/wiki/Donna_Karan) and Tom Ford (/wiki/Tom_Ford) . [5] (#cite_note-vogue-5) After the scent was developed, they believed the finished product to be a modern interpretation of Madonna's mother's perfume. The top note (/wiki/Note_(perfumery)) of Truth or Dare consists of essences from gardenia and tuberose, jasmine (/wiki/Jasmine) was embedded in the middle note, and the base was a mixture of vanilla and musk (/wiki/Musk) . [5] (#cite_note-vogue-5) Fragrances [ edit ] According to the CEO of Coty, Inc., Bernd Beetz, promotion for the brand and the perfume included Madonna's feature in print-ads, television, and online marketing campaign; the promotional activities would be produced with Fabien Baron (/wiki/Fabien_Baron) , of Baron & Baron with whom Madonna had previously worked on her 1992 coffee table book, Sex (/wiki/Sex_(book)) . [3] (#cite_note-news-3) The print-ad was shot by French Vogue (/wiki/Vogue_(magazine)) magazine photographers Mert Alas and Marcus Piggott. [5] (#cite_note-vogue-5) A number of promotional items accompanied the perfume, namely earrings, lingerie, bracelets and a bottle of Dom Pérignon (/wiki/Dom_P%C3%A9rignon_(wine)) champagne. Also included was a vase of yellow waterlillies, a gold box, a blindfold designed by French painter Kiki de Montparnasse (/wiki/Alice_Prin) , and a small vial of the scent. [4] (#cite_note-huff-4) In order to deliver the perfume to beauty editors for review, Madonna hired two handsome male models; one dressed in white and the other in black. The one dressed in white held tuberose and gardenia in his hand, while the otherin black held the white-colored perfume bottle; their costume was supposed to symbolize Madonna's mother and the duality of the perfume name. Gregory DelliCarpini Jr. from Billboard (/wiki/Billboard_(magazine)) magazine believed Madonna to be fully aware that sexual imagery was still in demand, hence she hired the male models. He concluded by saying, "What better way to pep up a dull day?" [6] (#cite_note-6) In December 2011, the first advertisement for the perfume was revealed. The ad featured Madonna topless, and looking towards the camera with the Truth or Dare perfume bottle in front. The poster was created by re-using images from Madonna's 2010 photoshoot with Interview (/wiki/Interview_(magazine)) magazine, which was shot by Alas and Piggott. [7] (#cite_note-7) Jessica Vince from Grazia (/wiki/Grazia) magazine complimented the ad, describing the singer's look as "recycle chic". The writer continued: "[She] is looking every inch the Hollywood glamazon, topless except for striking lipstick and her trademark crucifix, plus a mass of blonde waves. And no, you haven’t had one too many glasses of mulled wine – that is indeed herself she’s cosying up to." [8] (#cite_note-8) In December 2012, a second fragrance was announced and titled as Truth or Dare by Madonna: Naked . The press ad campaign featured a naked image of Madonna with a back banner across her breasts with the words "Naked - a new fragrance" on it. [9] (#cite_note-9) Sales [ edit ] In 2012, Madonna earned $60 million for her debut perfume, Truth or Dare. [10] (#cite_note-10) Footwear [ edit ] The second product from the brand was announced in March 2012, women's footwear, through ALDO Group (/wiki/ALDO_Group) . The initial footwear consists of more than 60 styles, including shoes (/wiki/Shoe) , platform shoes (/wiki/Platform_shoe) , flats, heels, booties and over-the-knee boots (/wiki/Boot) . The product is sold through Nordstrom (/wiki/Nordstrom) , ASOS.com (/wiki/ASOS.com) and Macy’s (/wiki/Macy%E2%80%99s) in the United States, Selfridges (/wiki/Selfridges) in the UK and Hudson's Bay (/wiki/Hudson%27s_Bay_(retailer)) and Little Burgundy (/wiki/ALDO_Group) Stores in Canada. [11] (#cite_note-11) See also [ edit ] Madonna fashion brands (/wiki/Madonna_fashion_brands) Madonna and business (/wiki/Madonna_and_business) References [ edit ] ^ Jump up to: a b Morewetz, Kate (November 21, 2011). "Madonna's Truth Or Dare Perfume" (http://www.huffingtonpost.ca/2011/11/21/madonnas-truth-or-dare-perfume_n_1106046.html?1324471065&just_reloaded=1) . HuffPost . Retrieved December 24, 2011 . ^ Jump up to: a b c Naughton, Julie; Born, Pete (November 3, 2011). "Madonna to Launch Second Lifestyle Brand" (http://www.wwd.com/markets-news/markets-features/madonna-to-launch-truth-or-dare-brand-5349158) . Women's Wear Daily (/wiki/Women%27s_Wear_Daily) . Retrieved December 24, 2011 . ^ Jump up to: a b c d Press Release (November 4, 2011). "Coty Inc. Announces Agreement With Madonna's MG Icon" (http://www.prnewswire.com/news-releases/coty-inc-announces-agreement-with-madonnas-mg-icon-133220938.html) (Press release). Coty, Inc (/wiki/Coty,_Inc.) . PR Newswire (/wiki/PR_Newswire) . Retrieved December 24, 2011 . ^ Jump up to: a b c Misener, Jessica (December 21, 2011). "Madonna's 'Truth Or Dare' Fragrance Sounds Kind Of Ridiculous" (http://www.huffingtonpost.com/2011/12/21/madonna-truth-or-dare-perfume_n_1162456.html?ref=style) . HuffPost (/wiki/HuffPost) . Retrieved December 24, 2011 . ^ Jump up to: a b c Madonna's New Scent (https://www.vogue.co.uk/article/madonna-launches-truth-or-dare-fragrance-with-coty) by Lisa Niven on Vogue Australia, 4 Nov 2011 ^ (#cite_ref-6) DelliCarpini Jr., Gregory (December 2, 2011). "Madonna Hires Hot Male Models to Deliver Her Scent" (http://www.billboard.com/articles/columns/the-hook/464859/madonna-hires-hot-male-models-to-deliver-her-scent) . Billboard (/wiki/Billboard_(magazine)) . Retrieved December 23, 2011 . ^ (#cite_ref-7) DelliCarpini Jr., Gregory (December 23, 2011). "Hooked: Madonna's New Perfume Ad & Lady Gaga's Ponytail" (http://www.billboard.com/articles/columns/the-hook/464667/hooked-madonnas-new-perfume-ad-lady-gagas-ponytail) . Billboard . Retrieved December 24, 2011 . ^ (#cite_ref-8) Vince, Jennifer (December 23, 2011). "Madonna Stars in the Ad For Her New Perfume, Truth or Dare" (http://www.graziadaily.co.uk/beauty/archive/2011/12/23/madonna-s.htm) . Grazia (/wiki/Grazia) . Retrieved December 24, 2011 . ^ (#cite_ref-9) "Truth or Dare by Madonna: Naked" (https://web.archive.org/web/20130123002110/http://www.truthordaremadonna.com/fragrence2.asp) . Truth or Dare by Madonna Official Website . Archived from the original (http://www.truthordaremadonna.com/fragrence2.asp) on January 23, 2013 . Retrieved April 1, 2012 . ^ (#cite_ref-10) Radio.com (/wiki/Radio.com) (March 30, 2012). "Madonna, Pop's First Female Billionaire, Has A Business Plan" (https://www.cbsnews.com/miami/news/madonna-pops-first-female-billionaire-has-a-business-plan/) . CBS News (/wiki/CBS_News) . Retrieved February 7, 2023 . ^ (#cite_ref-11) Snead, Elizabeth (March 12, 2012). "Madonna Launches a 'Truth or Dare' Shoe Line To Be Sold At Aldo" (http://www.hollywoodreporter.com/fash-track/madonna-shoe-line-truth-or-dare-298642) . The Hollywood Reporter (/wiki/The_Hollywood_Reporter) . Retrieved March 12, 2012 . External links [ edit ] Official website (https://web.archive.org/web/20170911191125/http://www.truthordaremadonna.com/) (archived, 11 Sep 2017) Facebook page (https://www.facebook.com/TruthOrDareByMadonna/) v t e Madonna (/wiki/Madonna) Albums (/wiki/Madonna_albums_discography) Songs (/wiki/List_of_songs_recorded_by_Madonna) Singles (/wiki/Madonna_singles_discography) Unreleased (/wiki/List_of_unreleased_songs_recorded_by_Madonna) Concerts (/wiki/List_of_Madonna_concerts) Videos (/wiki/Madonna_videography) Films (/wiki/Madonna_filmography) Books (/wiki/Madonna_bibliography) Fashion brands (/wiki/Madonna_fashion_brands) Awards (/wiki/List_of_awards_and_nominations_received_by_Madonna) Achievements (/wiki/List_of_Madonna_records_and_achievements) Cultural impact (/wiki/Cultural_impact_of_Madonna) Studio albums Madonna (/wiki/Madonna_(album)) Like a Virgin (/wiki/Like_a_Virgin_(album)) True Blue (/wiki/True_Blue_(Madonna_album)) Like a Prayer (/wiki/Like_a_Prayer_(album)) Erotica (/wiki/Erotica_(Madonna_album)) Bedtime Stories (/wiki/Bedtime_Stories_(Madonna_album)) Ray of Light (/wiki/Ray_of_Light) Music (/wiki/Music_(Madonna_album)) American Life (/wiki/American_Life) Confessions on a Dance Floor (/wiki/Confessions_on_a_Dance_Floor) Hard Candy (/wiki/Hard_Candy_(Madonna_album)) MDNA (/wiki/MDNA_(album)) Rebel Heart (/wiki/Rebel_Heart) Madame X (/wiki/Madame_X_(album)) Soundtrack albums Who's That Girl (/wiki/Who%27s_That_Girl_(soundtrack)) I'm Breathless (/wiki/I%27m_Breathless) Evita (/wiki/Evita_(soundtrack)) Live albums I'm Going to Tell You a Secret (/wiki/I%27m_Going_to_Tell_You_a_Secret_(album)) The Confessions Tour (/wiki/The_Confessions_Tour_(album)) Sticky & Sweet Tour (/wiki/Sticky_%26_Sweet_Tour_(album)) MDNA World Tour (/wiki/MDNA_World_Tour_(album)) Rebel Heart Tour (/wiki/Rebel_Heart_Tour_(album)) Madame X: Music from the Theater Xperience (/wiki/Madame_X:_Music_from_the_Theater_Xperience) Remix albums You Can Dance (/wiki/You_Can_Dance) Remixed & Revisited (/wiki/Remixed_%26_Revisited) Finally Enough Love: 50 Number Ones (/wiki/Finally_Enough_Love:_50_Number_Ones) Compilation albums The Immaculate Collection (/wiki/The_Immaculate_Collection) Something to Remember (/wiki/Something_to_Remember) GHV2 (/wiki/GHV2) Celebration (/wiki/Celebration_(Madonna_album)) Limited releases Like a Virgin & Other Big Hits! 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Belgian-born French jeweler (1887–1976) Portrait of Jeanne Toussaint by César Helleu (/wiki/Paul_C%C3%A9sar_Helleu) Portrait of Jeanne Toussaint by Adolph de Meyer (/wiki/Adolph_de_Meyer) (1920) Jeanne Toussaint (1887–1976) was a Belgian-born French jeweller and fashion designer who exerted considerable influence on jewellery design after Louis Cartier (/wiki/Louis_Cartier) appointed her Director of Fine Jewellery in 1933. She is remembered in particular for her panther designs which first appeared as a decoration for a Cartier (/wiki/Cartier_(jeweler)) watch in 1914 and became the theme of several creations for the Duchess of Windsor (/wiki/Wallis_Simpson) , including an onyx bracelet in 1952. Toussaint also specialized in creations inspired by the jewellery of the Moghuls (/wiki/Mughal_Empire) and the Maharajas (/wiki/Maharaja) . [1] (#cite_note-jac-1) [2] (#cite_note-elle-2) [3] (#cite_note-hb-3) Early life [ edit ] Born in Charleroi (/wiki/Charleroi) , Belgium, on 13 January 1887, Jeanne Rosine Toussaint was the daughter of Edouard Victor Toussaint (1837–1894) and his wife Marie Louise née Elegeer. [4] (#cite_note-roglo-4) Together with her older sister Charlotte, she was raised in a family of lacemakers who made her aware of fashion and style from a young age. After her father died while she was still a small child, her mother fell for a German who became a member of the household, contributed to the business but abused the two daughters. They both decided to leave home, Charlotte moving to Paris while Jeanne, now 15, sought the protection of Pierre de Quinsonas, a French aristocrat who had moved to Brussels to escape military service. Hoping to marry her, he took her to Paris but his family refused permission. Nevertheless, he found an apartment for her in the centre of the city, introducing her to French society. She soon became acquainted with Coco Chanel (/wiki/Coco_Chanel) , the illustrator George Barbier (/wiki/George_Barbier_(illustrator)) and, most importantly, Louis Cartier. [1] (#cite_note-jac-1) [2] (#cite_note-elle-2) Career [ edit ] Cartier was enthralled with Toussaint and her taste for fashion. In 1913, he hired her to coordinate his company's accessories. By the 1920s, she had successfully designed stylish handbags for wealthy high-society figures including Marjorie Merriweather Post (/wiki/Marjorie_Merriweather_Post) and Daisy Fellowes (/wiki/Daisy_Fellowes) . [1] (#cite_note-jac-1) She began a friendship with Baron Pierre Hély d’Oissel (/w/index.php?title=Pierre_H%C3%A9ly_d%E2%80%99Oissel&action=edit&redlink=1) [ fr (https://fr.wikipedia.org/wiki/Pierre_H%C3%A9ly_d%E2%80%99Oissel) ] , a prosperous businessman whom she eventually married in 1954. [3] (#cite_note-hb-3) After first being promoted to head Cartier's silver department in 1918, in 1933 Louis Cartier conferred on her full responsibility for artistic design, an area which until then he had directed himself. The first woman in the jewellery business with such an important mandate, she continued to hold the post during the Second World War (/wiki/Second_World_War) while Cartier moved to the United States where he died in 1942. [2] (#cite_note-elle-2) [3] (#cite_note-hb-3) Although Louis Cartier had a deep romantic relationship with Toussaint, he was unable to marry her as a result of her family background. [1] (#cite_note-jac-1) Toussaint is remembered for her long association with panthers, living in an apartment full of panther skins and wearing a gleaming coat made of panther fur. Cartier affectionately called her "Ma petite panthère". The association extended to her designs, starting with a wristwatch in 1914 and inspiring her jewellery and accessories. [1] (#cite_note-jac-1) In the 1940s, Toussaint moved from her earlier involvement with Art Deco (/wiki/Art_Deco) into three-dimensional sculptural work, often focusing on panthers set with diamonds, emeralds and onyx. From 1948, she created several of these specifically for the Duchess of Windsor. This resulted in wider interest in Europe and North America for panther-inspired rings, earrings and pendants. [5] (#cite_note-5) She also created works based on dragonflies, ladybirds, birds of paradise, lions and tigers and an impressive brooch of a flamingo, commissioned by the Duke of Windsor for his wife in 1940. Another of her specialities was jewellery inspired by the Mughuls and the Maharajas of India. [1] (#cite_note-jac-1) In recognition of her contribution to jewellery and design, she was awarded the Grand Cross of the Legion of Honour (/wiki/Grand_Cross_of_the_Legion_of_Honour) in 1955. [6] (#cite_note-6) Jeanne Toussaint retired from Cartier in 1970 and died in Paris on 7 May 1976. [1] (#cite_note-jac-1) [4] (#cite_note-roglo-4) References [ edit ] ^ Jump up to: a b c d e f g Carter-Lome, Maxine (6 October 2020). "Jeanne Toussaint: Cartier's Petite Panthére" (https://journalofantiques.com/features/jeanne-toussaint-cartiers-petite-panthere/) . Journal of Antiquities & Collectibles . Retrieved 13 June 2021 . ^ Jump up to: a b c Debruxelles, Juliette (5 June 2020). "Jeanne Toussaint : la belge derrière la création mythique de Cartier" (https://www.elle.be/fr/304534-jeanne-toussaint-la-belge-derriere-la-creation-mythique-de-cartier.html) (in French). Elle . Retrieved 13 June 2021 . ^ Jump up to: a b c Gaston-Breton, Tristan (7 May 2019). "Jeanne Toussaint, la « panthère » de Cartier" (https://historyandbusiness.fr/jeanne-toussaint-la-panthere-de-cartier/) (in French). HB: History & Business . Retrieved 13 June 2021 . ^ Jump up to: a b "Jeanne Toussaint" (http://roglo.eu/roglo?p=jeanne;n=toussaint;oc=9) (in French). Roglo . Retrieved 13 June 2021 . ^ (#cite_ref-5) Jordan, Sarah (29 August 2019). "How Cartier's Jeanne Toussaint Inspired and Popularised its Iconic "Panthère" (https://www.sothebys.com/en/articles/how-cartiers-jeanne-toussaint-inspired-and-popularised-its-iconic-panthere) " (https://www.sothebys.com/en/articles/how-cartiers-jeanne-toussaint-inspired-and-popularised-its-iconic-panthere) . Sotheby's . Retrieved 14 June 2021 . ^ (#cite_ref-6) "Jeanne Toussaint.. Cartier's "La Panthère"…" (http://lettredeparis.com/2016/04/08/jeanne-toussaint-cartiers-la-panthere/) . Lettre de Paris. 8 April 2016 . Retrieved 14 June 2021 . Further reading [ edit ] Des Horts, Stéphanie (2011). La Panthère (in French). Librairie générale française. ISBN (/wiki/ISBN_(identifier)) 978-2-253-15801-1 . Authority control databases (/wiki/Help:Authority_control) International VIAF (https://viaf.org/viaf/315701818) National Czech Republic (https://aleph.nkp.cz/F/?func=find-c&local_base=aut&ccl_term=ica=osa2015867039&CON_LNG=ENG) NewPP limit report Parsed by mw‐web.codfw.main‐58c7647fd9‐9xm74 Cached time: 20240714085322 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.252 seconds Real time usage: 0.329 seconds Preprocessor visited node count: 692/1000000 Post‐expand include size: 17461/2097152 bytes Template argument size: 631/2097152 bytes Highest expansion depth: 10/100 Expensive parser function count: 4/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 31493/5000000 bytes Lua time usage: 0.165/10.000 seconds Lua memory usage: 4742109/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 289.105 1 -total 38.44% 111.124 1 Template:Reflist 32.09% 92.770 6 Template:Cite_web 29.90% 86.450 1 Template:Authority_control 22.48% 64.982 1 Template:Short_description 12.24% 35.377 2 Template:Pagetype 6.74% 19.485 4 Template:Main_other 6.08% 17.584 1 Template:SDcat 4.28% 12.387 1 Template:Ill 2.40% 6.947 1 Template:Separated_entries Saved in parser cache with key enwiki:pcache:idhash:67935385-0!canonical and timestamp 20240714085322 and revision id 1222733280. 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NewPP limit report Parsed by mw‐web.eqiad.main‐8645764cd7‐qrswb Cached time: 20240712130318 Cache expiry: 2592000 Reduced expiry: false Complications: [] CPU time usage: 0.002 seconds Real time usage: 0.003 seconds Preprocessor visited node count: 1/1000000 Post‐expand include size: 0/2097152 bytes Template argument size: 0/2097152 bytes Highest expansion depth: 1/100 Expensive parser function count: 0/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 0/5000000 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 0.000 1 -total Saved in parser cache with key enwiki:pcache:idhash:70107326-0!canonical and timestamp 20240712130318 and revision id 1072644338. Rendering was triggered because: page-view Pages in category "Canadian fashion photographers" The following 6 pages are in this category, out of 6 total. This list may not reflect recent changes (/wiki/Wikipedia:FAQ/Categorization#Why_might_a_category_list_not_be_up_to_date?) . A Bryan Adams (/wiki/Bryan_Adams) C Erin Combs (/wiki/Erin_Combs) M Raphael Mazzucco (/wiki/Raphael_Mazzucco) P Indrani Pal-Chaudhuri (/wiki/Indrani_Pal-Chaudhuri) R Mike Ruiz (/wiki/Mike_Ruiz) T Tommy Ton (/wiki/Tommy_Ton) esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Category:Canadian_fashion_photographers&oldid=1072644338 (https://en.wikipedia.org/w/index.php?title=Category:Canadian_fashion_photographers&oldid=1072644338) " Categories (/wiki/Help:Category) : Canadian photographers (/wiki/Category:Canadian_photographers) Canadian fashion (/wiki/Category:Canadian_fashion) Fashion photographers (/wiki/Category:Fashion_photographers)
Lady Starkey Personal details Born Lady Georgiana Mary Curzon ( 1910-01-07 ) 7 January 1910 Died 11 January 1976 (1976-01-11) (aged 66) Spouse(s) Home Ronald Archibald Kidston (/wiki/Home_Kidston) ( m. 1935 ; div. 1943) Lord Lewis Stanton Starkey ( m. 1957 ; died 1975 ) Children Glen Kidston Parent(s) Francis Curzon, 5th Earl Howe (/wiki/Francis_Curzon,_5th_Earl_Howe) Mary Curzon, Lady Howe (/wiki/Mary_Curzon,_Lady_Howe) Relatives Richard Curzon, 4th Earl Howe (/wiki/Richard_Curzon,_4th_Earl_Howe) (grandfather) Montagu Curzon (/wiki/Montagu_Curzon) (grandfather) Lady Georgiana Mary Curzon Kidston, Lady Starkey (7 January 1910 – 11 January 1976) was an English socialite, included in The Book of Beauty (/wiki/The_Book_of_Beauty) by Cecil Beaton (/wiki/Cecil_Beaton) . Early life [ edit ] Lady Georgiana Mary Curzon was born on 7 January 1910, [1] (#cite_note-Mosley-1) the daughter of Francis Curzon, 5th Earl Howe (/wiki/Francis_Curzon,_5th_Earl_Howe) and Mary Curzon, Lady Howe (/wiki/Mary_Curzon,_Lady_Howe) , first cousins who married in 1907 and divorced in 1937. Her older brother was Edward Curzon, 6th Earl Howe (/wiki/Edward_Curzon,_6th_Earl_Howe) . [2] (#cite_note-EarlHowe-2) Her paternal grandparents were Richard Curzon, 4th Earl Howe (/wiki/Richard_Curzon,_4th_Earl_Howe) and, his first wife, Lady Georgiana Elizabeth Spencer-Churchill (fifth daughter of John Spencer-Churchill, 7th Duke of Marlborough (/wiki/John_Spencer-Churchill,_7th_Duke_of_Marlborough) and Lady Frances Vane (/wiki/Lady_Frances_Vane) ). [3] (#cite_note-1907Bystander-3) [4] (#cite_note-1907Sketch-4) Her mother was the only daughter of Esmé FitzRoy and Col. Montagu Curzon (/wiki/Montagu_Curzon) (the eldest son, by his second wife, of Richard Curzon-Howe, 1st Earl Howe (/wiki/Richard_Curzon-Howe,_1st_Earl_Howe) ). [5] (#cite_note-Dod1844-5) Career [ edit ] In the 1930s Lady Georgiana Curzon modelled for Pond's (/wiki/Pond%27s) [6] (#cite_note-6) and Copley's. [7] (#cite_note-7) In 1933, Lady Georgiana Curzon, Miss Deirdre Hart-Davis (/wiki/Deirdre_Hart-Davis) , the Lady Anne Wellesley (/wiki/Anne_Rhys,_7th_Duchess_of_Ciudad_Rodrigo) and Miss Nancy Beaton (/wiki/Nancy_Beaton) were photographed together for The Book of Beauty of Cecil Beaton (/wiki/Cecil_Beaton) . [8] (#cite_note-8) Personal life [ edit ] In 1934, she met war-time hero Roger Bushell (/wiki/Roger_Bushell) and they fell in love. [9] (#cite_note-9) Curzon's father did not approve and forced her to marry the son of a family friend. [10] (#cite_note-Brazil-10) In November 1935, Georgiana Curzon married Home Ronald Archibald Kidston (/wiki/Home_Kidston) . [1] (#cite_note-Mosley-1) [11] (#cite_note-National_Portrait_Gallery-11) Before their divorce in 1943, they had one son: Glen Kidston (1937–2018), who was educated at Eton (/wiki/Eton_College) and Christ Church, Oxford (/wiki/Christ_Church,_Oxford) . [1] (#cite_note-Mosley-1) [12] (#cite_note-12) The marriage was unhappy, Kidston apparently admitted adultery with Curzon's stepmother, and they eventually divorced in 1943. Bushell never forgot Curzon and it has been said that he was telling his fellow prisoners that "Georgie" was his true love and that he would one day marry her. Unfortunately, Bushell was killed by the Gestapo in 1944, his story life recounted in The Great Escape , in which his role is played by Richard Attenborough (/wiki/Richard_Attenborough) . For years after his death, Curzon placed an "In Memoriam" advertisement in The Times (/wiki/The_Times) on his birthday signing "Love is Immortal, Georgie". [10] (#cite_note-Brazil-10) Words in similar vein are referred to in an article [13] (#cite_note-13) in The Times in 2013, by Simon Pearson, about Bushell's lovers. He remarked that he had some years before, while working at The Times , come: . . . across a memorial notice in the archive, which marked the anniversary of Roger Bushell's birth and celebrated his life. It quoted Rupert Brooke: "He leaves a white unbroken glory, a gathered radiance, a width, a shining peace, under the night." It was signed "Georgie". On 1 November 1957 she married Lord Lewis Stanton Starkey (1906–1975), [1] (#cite_note-Mosley-1) a son of Lt.-Col. Lewis Edward Starkey and Mary Kathleen Starkey. Lord Starkey was previously married to Clare Désirée Blow (daughter of architect Detmar Jellings Blow (/wiki/Detmar_Jellings_Blow) ). [11] (#cite_note-National_Portrait_Gallery-11) She died on 11 January 1976. [1] (#cite_note-Mosley-1) She is buried at Holy Trinity, Penn Street, and on the tombstone there are two lines by Tennyson: "Oh for the touch of a vanished hand, and the sound of a voice that is still". [10] (#cite_note-Brazil-10) References [ edit ] ^ Jump up to: a b c d e Mosley, Charles, editor. Burke's Peerage, Baronetage & Knightage, 107th edition, 3 volumes. Wilmington, Delaware, U.S.A.: Burke's Peerage (Genealogical Books) Ltd, 2003 ^ (#cite_ref-EarlHowe_2-0) "Howe, Earl (UK, 1821)" (http://www.cracroftspeerage.co.uk/howe1821.htm) . www.cracroftspeerage.co.uk . Heraldic Media Limited . Retrieved 19 December 2019 . ^ (#cite_ref-1907Bystander_3-0) "Autumn Marriages" (https://books.google.com/books?id=gdwRAAAAYAAJ&pg=PA160) . The Bystander: An Illustrated Weekly, Devoted to Travel, Literature, Art, the Drama, Progress, Locomotion : 160. 1907 . Retrieved 19 December 2019 . ^ (#cite_ref-1907Sketch_4-0) "The Wedding of Cousins: Viscount Curzon, Who is to Marry Miss Mary Curzon" (https://books.google.com/books?id=O4I4AQAAMAAJ&pg=PA14) . The Sketch: A Journal of Art and Actuality . Ingram brothers: 14. 1907 . Retrieved 19 December 2019 . ^ (#cite_ref-Dod1844_5-0) Dod, Charles Roger (1844). The Peerage Baronetage and Knightage of Great Britain and Ireland... Whittaker. p. 453 (https://archive.org/details/peeragebaronetag00dodc/page/453) . Retrieved 19 December 2019 . ^ (#cite_ref-6) Pearson, Simon (2014). Un eroe in fuga . Newton Compton Editori. p. 274. ISBN (/wiki/ISBN_(identifier)) 9788854163454 . Retrieved 23 January 2018 . ^ (#cite_ref-7) "1930s Fashion Advice" (http://barbaraknitsagain.blogspot.it/2012/01/1930s-fashion-advice.html) . Knitting Now and Then . 8 January 2012 . Retrieved 23 January 2018 . ^ (#cite_ref-8) Beaton, Cecil (1933). The Book Of Beauty . Retrieved 23 January 2018 . ^ (#cite_ref-9) Pearson, Simon (7 July 2023). "The love life of the Great Escaper" (https://www.thetimes.co.uk/article/the-love-life-of-the-great-escaper-vsd06z5zvq8) . ISSN (/wiki/ISSN_(identifier)) 0140-0460 (https://www.worldcat.org/issn/0140-0460) . Retrieved 7 July 2023 . ^ Jump up to: a b c Brazil, Eddie (2017). Secret High Wycombe . Amberley Publishing Limited. p. 90. ISBN (/wiki/ISBN_(identifier)) 9781445665313 . Retrieved 23 January 2018 . ^ Jump up to: a b "Lady Georgiana Mary Kidston (née Curzon, later Lady Starkey)" (https://www.npg.org.uk/collections/search/person/mp18607/lady-georgiana-mary-kidston-nee-curzon-later-lady-starkey) . National Portrait Gallery . Retrieved 23 January 2018 . ^ (#cite_ref-12) "Earl Howe Again in Divorce Court" (http://nla.gov.au/nla.news-article186324926) . The Telegraph (/wiki/Telegraph_(Brisbane)) . Brisbane, Queensland. 31 July 1943. p. 2 . Retrieved 20 February 2017 . ^ (#cite_ref-13) Simon Pearson, "The love life of the Great Escaper" (https://www.thetimes.co.uk/article/the-love-life-of-the-great-escaper-vsd06z5zvq8) , The Times , August 12, 2013. Retrieved 6 November 2021. 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Japanese actress (born 1967) Tomoko Ikuta 生田智子 Born ( 1967-02-13 ) February 13, 1967 (age 57) Itabashi (/wiki/Itabashi) , Tokyo (/wiki/Tokyo) , Japan Nationality Japanese Other names Tomoko Nakayama Occupation Actress Years active 1983–present Agent Toho Entertainment Height 1.65 m (5 ft 5 in) (2008) Spouse Masashi Nakayama (/wiki/Masashi_Nakayama) ( m. 1996) Tomoko Nakayama ( 中山智子 , Nakayama Tomoko , born February 13, 1967) , [1] (#cite_note-1) better known as Tomoko Ikuta ( 生田智子 , Ikuta Tomoko ) , is a Japanese actress. Her skills are dancing and horseback riding. She is a regular model for Mart. Her husband is footballer Masashi Nakayama (/wiki/Masashi_Nakayama) . Biography [ edit ] Ikuta was born in Itabashi (/wiki/Itabashi) , Tokyo (/wiki/Tokyo) , Japan. After starring in some work as a child actress, in 1983, she debuted in the film, Vienna Story: Gemini • Y and S (Vienna Monogatari Gemini Y to S). She graduated from Yamazaki Gakuen Fujimi High School and Japan Women's College of Physical Education. In 1996, Ikuta married Júbilo Iwata (/wiki/J%C3%BAbilo_Iwata) professional footballer Masashi Nakayama (/wiki/Masashi_Nakayama) . In 2004, they had their first child. Ikuta dubbed in the South Korean drama, Dae Jang Geum (/wiki/Dae_Jang_Geum) . She is also a mother tarento and worked as a model. In 2011, with her husband, they won 4th Platinum Couple Awards. [2] (#cite_note-2) Filmography [ edit ] TV series [ edit ] Year Title Role Network Notes 1978 Princess Comet (/wiki/Princess_Comet) TBS (/wiki/Tokyo_Broadcasting_System) Episode 32 1980 Pīman Hakusho Student Fuji TV (/wiki/Fuji_Television) Episode 9 1982 The Hangman II ABC (/wiki/Asahi_Broadcasting_Corporation) Episode 6 1984 Oregon Kara Ai Fuji TV 1985 Miotsukushi Masumi Yoshitake NHK (/wiki/NHK) Hissatsu Shigoto Hito V Osode ABC Episode 10 Jirareta Mariko Miyako Maeda TBS 1987 Pro Golfer Reiko Ayako Marumoto Fuji TV 1988 I Wanna Hold Your Hand Tomoka Yoshizawa Fuji TV Abarenbō Shogun III Okayo TV Asahi (/wiki/TV_Asahi) Episode 35 OL Sannintabi 5 Nile Yukemuri Satsujin Mayumi Nishino Fuji TV, Kyodo TV (/wiki/Kyodo_Television) 1989 Kyōshi Binbin Monogatari II Reiko Kinoshita Fuji TV Sasurai Keiji Ryojō-hen II TV Asahi Episode 1 Sanbiki ga Kiru! (/wiki/Sanbiki_ga_Kiru!) TV Asahi Episode 9 Ai Shi Atteru Kai! Fuji TV Episode 9 Lucky! Tenshi, to e Iku Sawamura Fuji TV 1990 Kimyōna Dekigoto Yoko Katayama Fuji TV Lead role The Deka Kyoko Tachibana TV Asahi Episode 3 Nihonichi no Kattobi Otoko Fuji TV Episode 5 Mikeneko Homes no Kanshō Ryokō Yukiko TV Asahi Hagurekeiji Junjō-ha TV Asahi Episode 25 1991 Aitai Toki ni Anata wa Inai… Hiroko Nakamura Fuji TV Kamakura Renai Iinkai TBS 1992 Tokugawa Buraichō TV Tokyo (/wiki/TV_Tokyo) Episode 22 Nobunaga King of Zipangu Yui NHK Sono toki Heartwa Nusumareta (/wiki/Sono_toki_Heartwa_Nusumareta) Inaba-sensei Fuji TV 1993 Abarenbō Shogun V Osamu Masa TV Asahi Episode 11 Nakitai Yoru mo Aru MBS (/wiki/Mainichi_Broadcasting_System) Episode 11 Mito Kōmon (/wiki/Mito_K%C5%8Dmon) Kaori TBS Episode 32 1994 Hosou de Hanjō-ki Kimie Fuji TV 2011 Boku to Star no 99 Nichi (/wiki/Boku_to_Star_no_99_Nichi) Yukiko Namiki Fuji TV 2012 Kōkō Nyūshi Masako Shibata Fuji TV Monsters Mitsuko Okawara TBS Episode 5 2013 Doctors: Saikyō no Meii Saito University Hospital operating room nurse TV Asahi 2015 Zeimu Chōsakan Taro Madogiwa no Jiken-bo 29 Yuko Muto TBS 2017 Hiyokko (/wiki/Hiyokko) Yasue Fukuda NHK Asadora (/wiki/Asadora) Films [ edit ] Year Title Role Notes Ref. 1982 PC Wars Isami Chiyo 1983 Vienna Story: Gemini • Y and S Yumi Irie 1989 Kimi wa Boku o Suki ni Naru 1992 Angel Boku no Uta wa Kimi no Uta Akiko Tsukanohara 2008 Kagehinata ni Saku Shinya's mother 2013 Kenchō Omotenashi-ka 2018 Kasane (/wiki/Kasane_(manga)) 2019 You Shine in the Moonlit Night 2020 Apparel Designer 2022 BL Metamorphosis (/wiki/BL_Metamorphosis) Hanae [3] (#cite_note-3) References [ edit ] ^ (#cite_ref-1) "Official profile" (http://www.toho-ent.co.jp/actress/show_profile.php?id=1296) (in Japanese). Toho Entertainment . Retrieved October 18, 2015 . ^ (#cite_ref-2) "ゴン中山＆生田智子夫妻に『プラチナ夫婦アワード』　結婚15周年で久々2ショット" (http://beauty.oricon.co.jp/news/2003954/) (in Japanese). Oricon (/wiki/Oricon) . November 22, 2011 . Retrieved October 18, 2015 . ^ (#cite_ref-3) "メタモルフォーゼの縁側" (https://eiga.com/movie/93239/) . eiga.com . Retrieved February 21, 2022 . External links [ edit ] Official profile (http://www.toho-ent.co.jp/actress/show_profile.php?id=1296) (in Japanese) Official website (http://ameblo.jp/ikuta-tomoko/) (in Japanese) NewPP limit report Parsed by mw‐api‐int.eqiad.main‐dc899b7cc‐mp4d6 Cached time: 20240720003807 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.525 seconds Real time usage: 0.734 seconds Preprocessor visited node count: 2190/1000000 Post‐expand include size: 14532/2097152 bytes Template argument size: 2739/2097152 bytes Highest expansion depth: 22/100 Expensive parser function count: 3/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 13566/5000000 bytes Lua time usage: 0.367/10.000 seconds Lua memory usage: 21441568/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 703.244 1 -total 39.50% 277.770 1 Template:Infobox_person 19.39% 136.394 2 Template:Nihongo 18.73% 131.747 1 Template:Short_description 15.85% 111.476 1 Template:Reflist 14.12% 99.322 20 Template:Pluralize_from_text 14.00% 98.436 3 Template:Cite_web 11.95% 84.056 18 Template:Main_other 9.82% 69.043 1 Template:Marriage 9.00% 63.293 1 Template:SDcat Saved in parser cache with key enwiki:pcache:idhash:48274182-0!canonical and timestamp 20240720003807 and revision id 1164317784. 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2015 American film The True Cost Theatrical release poster Directed by Andrew Morgan Produced by Michael Ross Edited by Michael Ross Music by D Production companies Untold Creative Life Is My Movie Entertainment (/wiki/Life_Is_My_Movie_Entertainment) Distributed by Life Is My Movie Entertainment Bullfrog Films (home media) Release dates May 15, 2015 ( 2015-05-15 ) ( Cannes (/wiki/Cannes_Film_Festival) ) May 29, 2015 ( 2015-05-29 ) (United States) Running time 93 minutes Country United States Language English Budget US$ (/wiki/United_States_dollar) 500,000 [1] (#cite_note-MarketW-1) Part of a series (/wiki/Category:Clothing_and_the_environment) on Clothing and the environment Environmental impact of fashion (/wiki/Environmental_impact_of_fashion) Key issues Cotton industry (/wiki/Cotton_industry) Ecological footprint (/wiki/Ecological_footprint) Fast fashion (/wiki/Fast_fashion) Fur trade (/wiki/Fur_trade) Global trade of secondhand clothing (/wiki/Global_trade_of_secondhand_clothing) Impact investing (/wiki/Impact_investing) Microplastics (/wiki/Microplastics) Textile performance (/wiki/Textile_performance) By type Cashmere (/wiki/Cashmere_wool#Criticism_of_industry) Fur farming (/wiki/Environmental_impacts_of_fur_farming) Leather (/wiki/Environmental_impact_of_leather) Sustainability Anti-fashion (/wiki/Anti-fashion) Biodegradable athletic footwear (/wiki/Biodegradable_athletic_footwear) Circular fashion (/wiki/Circular_fashion) Clothing swap (/wiki/Clothing_swap) Cotton recycling (/wiki/Cotton_recycling) Environmental design (/wiki/Environmental_design) Environmental impact design (/wiki/Environmental_impact_design) Green textile (/wiki/Green_textile) Public interest design (/wiki/Public_interest_design) Organic cotton (/wiki/Organic_cotton) Reconstructed clothing (/wiki/Reconstructed_clothing) Slow fashion (/wiki/Slow_fashion) Socially responsible investing (/wiki/Socially_responsible_investing) Sustainable (/wiki/Sustainability) Advertising (/wiki/Sustainable_advertising) Design (/wiki/Sustainable_design) Fashion (/wiki/Sustainable_fashion) Industries (/wiki/Sustainable_industries) Market (/wiki/Sustainable_market) Procurement (/wiki/Sustainable_procurement) Transport (/wiki/Sustainable_transport) Textile recycling (/wiki/Textile_recycling) Sustainability of vintage fashion (/wiki/Environmental_sustainability_of_vintage_fashion) Trashion (/wiki/Trashion) Zero-waste fashion (/wiki/Zero-waste_fashion) Related Business ethics (/wiki/Business_ethics) Green marketing (/wiki/Green_marketing) RiverBlue (/wiki/RiverBlue) The True Cost Environmental record of Nike (/wiki/Nike,_Inc.#Environmental_record) Ecological design (/wiki/Ecological_design) Laundry wastewater (/wiki/Laundry_wastewater) Vintage clothing (/wiki/Vintage_clothing) Fashion portal (/wiki/Portal:Fashion) Environment portal (/wiki/Portal:Environment) v t e The True Cost is a 2015 documentary film (/wiki/Documentary_film) directed by Andrew Morgan that focuses on fast fashion (/wiki/Fast_fashion) . It discusses several aspects of the garment industry (/wiki/Clothing_industry) from production—mainly exploring the life of low-wage workers in developing countries—to its after-effects such as river (/wiki/Water_pollution) and soil pollution (/wiki/Soil_contamination) , pesticide contamination (/wiki/Pesticide_residue) , disease and death. Using an approach that looks at environmental, social and psychological aspects, it also examines consumerism (/wiki/Consumerism) and mass media (/wiki/Mass_media) , ultimately linking them to global capitalism (/wiki/Capitalism) . The documentary is a collage of several interviews with environmentalists, garment workers, factory owners, and people organizing fair trade (/wiki/Fair_trade) companies or promoting sustainable clothing production. Morgan's attention was drawn to the topic after the 2013 Savar building collapse (/wiki/Rana_Plaza_collapse) when a commercial building in Bangladesh named Rana Plaza toppled and killed over a thousand workers. Starting the project in October of that year, he traveled to thirteen countries to collect information and conduct interviews. The film was funded (/wiki/Crowdfunding) by Kickstarter (/wiki/Kickstarter) and premiered as a side screening during the 2015 Cannes Film Festival (/wiki/2015_Cannes_Film_Festival) in May 2015 before its release in select American and British theaters later that month. Critics have been both positive and dismissive, with reviews ranging from "vitally important documentary" [2] (#cite_note-FJI-2) to "vague liberal agitprop". [3] (#cite_note-VillageV-3) Content [ edit ] In The True Cost , Morgan examines the garment industry—specifically the fast fashion (/wiki/Fast_fashion) business— [4] (#cite_note-CNBC-4) and links it to consumerism (/wiki/Consumerism) , globalization (/wiki/Globalization) , capitalism (/wiki/Capitalism) , structural poverty, and oppression. [5] (#cite_note-Guardian_Lucy-5) [6] (#cite_note-Oregon-6) In the film, it is stated that in the 1960s, the American fashion industry produced 95% of the clothes its people wore, while in the 2010s only 3% percent is produced in the United States, with the rest produced in developing countries (/wiki/Developing_country) . [7] (#cite_note-THR-7) Operating in countries such as Bangladesh, India, Cambodia, and China, [8] (#cite_note-Vogue-8) major brand manufacturers minimize costs and maximize profits by having companies in those countries competing against each other. [9] (#cite_note-Paste-9) The international brands pressure the factory owners, threatening to close and move production to another country if the clothes are not cheap enough; the owners, in turn, pressure their workers and, as one owner says, "They're hampering me, I'm hampering my workers". [10] (#cite_note-HarperB-10) According to Morgan, despite garment manufacturing being a three-trillion-dollar industry, [11] (#cite_note-Friedman-11) the working conditions in those countries are poor. [12] (#cite_note-NYT-12) In addition to having to work in those conditions and live on low salaries, these workers have a difficult time demanding their rights; Bangladeshi workers in Dhaka (/wiki/Dhaka) may be beaten by their employers while Cambodians are shot by police. [4] (#cite_note-CNBC-4) [13] (#cite_note-Dissolve-13) In Dhaka, workers must work in hot and chemical-ridden environments and structurally unsound buildings. The film shows the events of the 2013 Savar building collapse (/wiki/Rana_Plaza_collapse) when an eight-story commercial building named Rana Plaza collapsed. [3] (#cite_note-VillageV-3) [4] (#cite_note-CNBC-4) Just prior to that, workers had been forced into the factory even though a crack was seen in the walls. [4] (#cite_note-CNBC-4) The Rana Plaza collapse in Bangladesh (/wiki/Bangladesh) , an event that sparked Morgan's interest in making the film, is explored as an example of poor working conditions in developing countries. The film shows how the demand for cotton in India has led to the planting of genetically modified (/wiki/Genetically_modified_organism) (GM) cotton, [13] (#cite_note-Dissolve-13) and how the monopoly (/wiki/Monopoly) inherent in its use by seed companies causes an increase in the price of cotton, leading to suicides among farmers (/wiki/Farmers%27_suicides_in_India) who lose their land to these companies because they cannot pay the higher seed prices. [14] (#cite_note-Elle-14) GM crops need more pesticides, causing environmental damage, [3] (#cite_note-VillageV-3) birth defects leading to mental and physical disabilities among the Punjab (/wiki/Punjab) people, [4] (#cite_note-CNBC-4) [15] (#cite_note-NDR-15) and an increased rate of cancer. [14] (#cite_note-Elle-14) The film claims that sometimes the companies that produce the pesticides are the same ones that produce the needed medications. [16] (#cite_note-EyeFF_int-16) A similar scenario occurs in contaminated cotton fields in Texas, where pesticides are causing brain tumors. [9] (#cite_note-Paste-9) The garment industry is the second-most-polluting industry the world, according to the film, [11] (#cite_note-Friedman-11) which is illustrated by leather tanneries (/wiki/Tanning_(leather)) pouring chromium (/wiki/Chromium) into the Ganges River (/wiki/Ganges) in Kanpur (/wiki/Kanpur) , India. [14] (#cite_note-Elle-14) [16] (#cite_note-EyeFF_int-16) In the film, the focus returns to America, where it looks at how media affects the desire of people—especially teenagers—to buy and create an identity focused on consumption. [3] (#cite_note-VillageV-3) This is borne out by a 500% worldwide increase in clothing consumption compared to the 1990s. [16] (#cite_note-EyeFF_int-16) However, clothes are quickly disposed of; an average American wastes 82 lb (37 kg) of textiles a year. [17] (#cite_note-MTV-17) Only 10% percent of donated clothes go to thrift shops (/wiki/Charity_shop) ; [18] (#cite_note-WSJ-18) the rest go to landfills, such as those in Port-au-Prince (/wiki/Port-au-Prince) , Haiti. [17] (#cite_note-MTV-17) Aside from weakening local industries by this constant disposal of clothes, [19] (#cite_note-EyeFF_rev-19) land and water are polluted because most apparel is made from non-biodegradable (/wiki/Biodegradation) materials. [17] (#cite_note-MTV-17) Throughout the film, Morgan shows people who defend the low-cost prices such as Benjamin Powell (/wiki/Benjamin_Powell) of the Free Market Institute at Texas Tech University (/wiki/Texas_Tech_University) [1] (#cite_note-MarketW-1) and Kate Ball-Young, former sourcing manager of Joe Fresh (/wiki/Joe_Fresh) . [9] (#cite_note-Paste-9) [12] (#cite_note-NYT-12) Ball-Young says that, in comparison to more precarious alternative work, the fashion industry is a good choice for workers. [7] (#cite_note-THR-7) [12] (#cite_note-NYT-12) Powell argues sweatshops (/wiki/Sweatshop) are "part of the very process that raises living standards and leads to better working conditions over time". [3] (#cite_note-VillageV-3) In contrast, the film shows a Texas organic cotton farmer, eco fashion (/wiki/Sustainable_fashion) activist Livia Firth and her sustainability-focused consulting firm, [13] (#cite_note-Dissolve-13) [20] (#cite_note-Dissent-20) and people who manage fair trade (/wiki/Fair_trade) clothing companies, such as animal-rights activist Stella McCartney (/wiki/Stella_McCartney) , [20] (#cite_note-Dissent-20) People Tree's (/wiki/People_Tree_Ltd.) Safia Minney (/wiki/Safia_Minney) , Redress's Christina Dean, and Patagonia's (/wiki/Patagonia,_Inc.) Vincent Stanley. [3] (#cite_note-VillageV-3) [21] (#cite_note-Chan-21) [22] (#cite_note-Doga-22) Other individuals interviewed and appearing in the film include: television personalities Stephen Colbert (/wiki/Stephen_Colbert) and John Oliver (/wiki/John_Oliver) , [7] (#cite_note-THR-7) economist Richard D. Wolff (/wiki/Richard_D._Wolff) , [3] (#cite_note-VillageV-3) John Hilary of the charity War on Want (/wiki/War_on_Want) , [10] (#cite_note-HarperB-10) professor of media studies Mark Crispin Miller (/wiki/Mark_Crispin_Miller) , [3] (#cite_note-VillageV-3) psychologist Tim Kasser (/wiki/Tim_Kasser) , [23] (#cite_note-ElPais-23) physician Pritpal Singh, [24] (#cite_note-DBeast-24) and environmentalists Rick Ridgeway (/wiki/Rick_Ridgeway) [25] (#cite_note-WMag-25) and Vandana Shiva (/wiki/Vandana_Shiva) . [26] (#cite_note-LATimes-26) Production [ edit ] The True Cost was produced by Morgan's Untold Creative in association with Life is My Movie Entertainment. [27] (#cite_note-libraryjournal-27) [28] (#cite_note-bullfrog-28) The documentary's budget of US$ (/wiki/United_States_dollar) 500,000 was obtained through individual investors and Kickstarter (/wiki/Kickstarter) , with Kickstarter crowd funders contributing US$76,546 . Morgan refused to accept money from companies, non-governmental organizations, and foundations to keep the project "autonomous". [1] (#cite_note-MarketW-1) [29] (#cite_note-Telegraph-29) During two years beginning in October 2013, [29] (#cite_note-Telegraph-29) Morgan traveled to twenty-five cities in thirteen countries, where he collected information and conducted interviews. [25] (#cite_note-WMag-25) [30] (#cite_note-Morgan-30) Some of the interviews were made possible through the efforts of executive producer Livia Firth, who introduced Morgan to eco-fashion. [1] (#cite_note-MarketW-1) Morgan had planned to interview Firth, but when she learned about the project she became interested in it and recommended people for him to talk to. Firth became heavily involved with the project, and after completing several interviews with her, Morgan showed Firth the final cut and made her an executive producer (/wiki/Executive_producer) for the film. [31] (#cite_note-HuffP-31) He had also planned to conduct interviews with 25 "major" brands, but none of them agreed to appear in the film. [1] (#cite_note-MarketW-1) With no knowledge of the fashion industry, Morgan decided to make a film on the topic after being shocked by the news of the collapse of Rana Plaza. [5] (#cite_note-Guardian_Lucy-5) After spending several days getting information, and discovering the industry's human rights violations (/wiki/Human_rights) and "staggering environmental impacts", he was sure he had to make the film. [32] (#cite_note-FashionLaw-32) He had also previously had an appreciation for the genre, saying he was "actually fascinated by those [fashion] films that follow one person". [5] (#cite_note-Guardian_Lucy-5) Like Morgan a non-connoisseur of fashion, executive producer and eco-activist Lucy Siegle (/wiki/Lucy_Siegle) said that she does not like such films as they are usually limited to exploring the aesthetic aspects of the industry. It is The True Cost differential in her opinion; it "goes there and then some‍—‌it unravels the grim, gritty, global supply chain of fast fashion". [5] (#cite_note-Guardian_Lucy-5) Nevertheless, the film purposely does not give viewers a clear answer on how to solve the problems as there are "no straightforward answers". Morgan commented, "I'm probably most proud that we avoided easy answers and instead chose to trust people to both feel and think deeply about the issues raised." [5] (#cite_note-Guardian_Lucy-5) This doesn't have to be [a] liberal versus pro-business debate. What it has to become is an honest debate. This isn't about 'Let's throw the system out the window.' I'm not against the idea of competition and profit and businesses. ... Those are really good forces. We can channel those forces in a more humane and more sustainable way. It's very similar to what's happened with the food movement. A lot of it starts with customer demand. — Andrew Morgan, director [1] (#cite_note-MarketW-1) Regarding the ultimate objectives behind the making of the film, Morgan said he was not trying to blame just a single company [33] (#cite_note-Guardian_Cannes-33) nor the fast fashion industry as "it did not invent a very irresponsible way of manufacturing, it did not invent overmarketing the consumption of things." [4] (#cite_note-CNBC-4) The director said the film was intended to be a caution on the "incessant consumption of mediocre stuff" and an incentive to view shopping as something more than a hobby, [14] (#cite_note-Elle-14) adding that buying is "a moral act and there is a chain reaction of consequences". [29] (#cite_note-Telegraph-29) He commented he was not trying to be "anti-business or anti-market" but was just reaffirming basic human rights and showing the limits of natural resources. [18] (#cite_note-WSJ-18) Morgan said his main hope for the film was that it would spark a debate on the topic and make people "more mindful and choose things that support life and not take it away." [29] (#cite_note-Telegraph-29) Morgan thought he had included a good number of counter-examples of how people can make a difference, so the film does not simply show "the destructive ways this industry operates but also the opportunity to reinvent it" [30] (#cite_note-Morgan-30) through "small choices [that] actually impact those [big problems]." [16] (#cite_note-EyeFF_int-16) Ultimately, he considered his film an introduction to the topic that was able to connect several elements, any one of which would be worth being covered in a film. [16] (#cite_note-EyeFF_int-16) Release and response [ edit ] To coincide with Fashion Revolution Day (/wiki/Fashion_Revolution) , which seeks transparency in clothes production, the trailer of The True Cost was released on April 24, 2015. [34] (#cite_note-Grazia-34) It premiered at Cannes as a side screening during the 2015 Cannes Film Festival (/wiki/2015_Cannes_Film_Festival) on May 15, [29] (#cite_note-Telegraph-29) when film producer Harvey Weinstein (/wiki/Harvey_Weinstein) said, "This movie's going to shock the fashion world". [1] (#cite_note-MarketW-1) A week before the official release, the crowd funders received personal links to allow them to watch the film. [29] (#cite_note-Telegraph-29) Distributed by Life is My Movie and Bullfrog Films, [28] (#cite_note-bullfrog-28) It was released on May 29 through iTunes (/wiki/ITunes) , video on demand (/wiki/Video_on_demand) services, DVD, Blu-Ray, and in select theaters in Los Angeles, New York, Tokyo, and London. [1] (#cite_note-MarketW-1) [11] (#cite_note-Friedman-11) [18] (#cite_note-WSJ-18) It has since been translated into 19 languages. [1] (#cite_note-MarketW-1) After its release, companies that were subjects of the film, including H&M (/wiki/H%26M) and Zara (/wiki/Zara_(retailer)) , defended themselves in a CNBC (/wiki/CNBC) article. [4] (#cite_note-CNBC-4) The film has been subject to dissonant reviews that ranged from extremely positive to very dismissive. Aggregator site Rotten Tomatoes (/wiki/Rotten_Tomatoes) says there were five positive reviews and three negative reviews‍—‌which indicates that 63% of critics were favorable‍—‌and that it received an average score of 6.3. [35] (#cite_note-RottenT-35) Based on one positive, two mixed, and one negative review, Metacritic (/wiki/Metacritic) assigns an average score of 46 out of 100. [36] (#cite_note-MetaC-36) It also received an Environmental Media Awards (/wiki/Environmental_Media_Awards) nomination for Best Documentary Film. [37] (#cite_note-EMA-37) The New York Times (/wiki/The_New_York_Times) reviewer Jeannette Catsoulis praised it for avoiding the dichotomy of "corporate greed versus environmental well-being", adding that instead of being an exposé (/wiki/Investigative_journalism) , "Under the gentle, humane investigations of its director, what emerges most strongly is a portrait of exploitation that ought to make us more nauseated than elated over those $20 jeans". [12] (#cite_note-NYT-12) Tamsin Blanchard (/wiki/Tamsin_Blanchard) , for the Daily Telegraph (/wiki/The_Daily_Telegraph) , called it a work that will "do for the fast fashion business what Food Inc (/wiki/Food,_Inc.) did for fast food". [29] (#cite_note-Telegraph-29) The Hollywood Reporter (/wiki/The_Hollywood_Reporter) ' s Frank Scheck commended it for approaching an issue often "untouched by major news organizations". [7] (#cite_note-THR-7) He said the film was "more despair-inducing than instructive", but was optimistic about its possible impact on the fashion culture, citing the effect that films such as Super Size Me (/wiki/Super_Size_Me) and Fast Food Nation (/wiki/Fast_Food_Nation_(film)) had on the fast food industry. [7] (#cite_note-THR-7) Carson Quiros of Paste (/wiki/Paste_(magazine)) also compared it to the former film. [9] (#cite_note-Paste-9) David Noh of Film Journal International (/wiki/Film_Journal_International) called it a "vitally important documentary" that contains scenes that "are enough to make you never want to go shopping again". [2] (#cite_note-FJI-2) Gabrielle Wilson of MTV (/wiki/MTV) stated it is "hard to swallow but never feels preach-y or like a barrage of depressive factoids" and will empower viewers to change their shopping habits. [17] (#cite_note-MTV-17) Casey Jarman said she was disappointed by "the only solution offered: eliminating global capitalism"; however, ultimately, she wrote for Willamette Week (/wiki/Willamette_Week) that it is a "compelling film, which is, above all else, a badly needed conversation-starter". [38] (#cite_note-WW-38) Alan Scherstuhl wrote a very critical piece for The Village Voice (/wiki/The_Village_Voice) ; he called the film predictable and repetitive, and said it contained several facts that have been clearly "common knowledge for years". [3] (#cite_note-VillageV-3) Scherstuhl said it is scattershot, "a litany of Things We Can All Agree Are Bad", but ultimately jumps between several topics‍—‌without sufficient detail, in his opinion‍—‌but comes to no conclusion or alternative. [3] (#cite_note-VillageV-3) Scherstuhl said not even common people would have their beliefs challenged and that they would "dismiss it as the vague liberal agitprop that it is". [3] (#cite_note-VillageV-3) Similarly while saying the film discusses important issues, both Genevieve Koski of The Dissolve (/wiki/The_Dissolve) and Jennie Kermode of Eye for Film said it deals with several themes quickly but does not expand upon any of them. [13] (#cite_note-Dissolve-13) [19] (#cite_note-EyeFF_rev-19) Koski said, " The True Cost is methodical to a fault", [13] (#cite_note-Dissolve-13) while Kermode said it is "a good starting point" on the topic. [19] (#cite_note-EyeFF_rev-19) Fashion critic Vanessa Friedman (/wiki/Vanessa_Friedman) said it has an "easy-to-swallow accessibility" but that it "oversimplifies" some aspects of the industry. In addition to commenting on the lack of attribution for "lots of eye-popping statements", she said, "trying to do everything, he skirted a lot of things". [11] (#cite_note-Friedman-11) The Los Angeles Times (/wiki/Los_Angeles_Times) ' Martin Tsai criticized Morgan for interviewing his own executive producers, saying "the effects of fertilizers ... don't appear quite as tangible", and faulted Morgan for not exploring "retailer markups that could have gone toward improving sweatshop conditions instead of profit margins", but appreciated that he had interviewed people with both pro and con views. [26] (#cite_note-LATimes-26) Lizzie Crocker of The Daily Beast (/wiki/The_Daily_Beast) said Morgan had socialist (/wiki/Socialism) views and that the film implies he wants to go back to the 1960s. She also criticized some interviewees, such as Miller, whom she called a "conspiracy theorist", and Wolff, whom she called a "Marxist idealist". Crocker was dismissive of the film, saying, "the film loses focus and credibility, criticizing not just the fashion industry but the global capitalist system that supports it". [24] (#cite_note-DBeast-24) See also [ edit ] China Blue (/wiki/China_Blue) Cotton production in the United States (/wiki/Cotton_production_in_the_United_States) Textile industry in Bangladesh (/wiki/Textile_industry_in_Bangladesh) References [ edit ] ^ Jump up to: a b c d e f g h i Cheng, Andria (May 29, 2015). "This movie may change how you buy clothes" (http://www.marketwatch.com/story/this-movie-may-change-how-you-buy-clothes-2015-05-28) . MarketWatch (/wiki/MarketWatch) . Dow Jones & Company (/wiki/Dow_Jones_%26_Company) . Archived (https://web.archive.org/web/20150529114955/http://www.marketwatch.com/story/this-movie-may-change-how-you-buy-clothes-2015-05-28) from the original on May 29, 2015 . Retrieved January 5, 2016 . ^ Jump up to: a b Noh, David (May 29, 2015). "Film Review: The True Cost" (http://www.filmjournal.com/reviews/film-review-true-cost) . Film Journal International . Prometheus Global Media. Archived (https://web.archive.org/web/20160625182105/http://www.filmjournal.com/reviews/film-review-true-cost) from the original on June 25, 2016 . Retrieved January 4, 2016 . ^ Jump up to: a b c d e f g h i j k Scherstuhl, Alan (May 27, 2015). " (http://www.villagevoice.com/film/the-true-cost-fumbles-its-attack-on-the-clothing-industry-7122087) The True Cost Fumbles Its Attack on the Clothing Industry" (http://www.villagevoice.com/film/the-true-cost-fumbles-its-attack-on-the-clothing-industry-7122087) . The Village Voice . Voice Media Group (/wiki/Voice_Media_Group) . Archived (https://web.archive.org/web/20150623195637/http://www.villagevoice.com/film/the-true-cost-fumbles-its-attack-on-the-clothing-industry-7122087) from the original on June 23, 2015 . Retrieved October 20, 2015 . ^ Jump up to: a b c d e f g Gustafson, Krystina (May 29, 2015). " (https://www.cnbc.com/2015/05/29/the-true-cost-attacks-the-business-of-fast-fashion.html) 'The True Cost' attacks the business of fast fashion" (https://www.cnbc.com/2015/05/29/the-true-cost-attacks-the-business-of-fast-fashion.html) . CNBC. Archived (https://web.archive.org/web/20160703183117/http://www.cnbc.com/2015/05/29/the-true-cost-attacks-the-business-of-fast-fashion.html) from the original on July 3, 2016 . Retrieved October 25, 2015 . ^ Jump up to: a b c d e Siegle, Lucy (June 4, 2015). "Why not all fashion documentaries should be pretty" (https://www.theguardian.com/fashion/2015/jun/04/true-cost-film-grim-gritty-world-fashion-documentaries-rana-plaza) . The Guardian . Archived (https://web.archive.org/web/20160618072225/http://www.theguardian.com/fashion/2015/jun/04/true-cost-film-grim-gritty-world-fashion-documentaries-rana-plaza) from the original on June 18, 2016 . Retrieved October 24, 2015 . ^ (#cite_ref-Oregon_6-0) Mohan, Marc (May 29, 2015). " (http://www.oregonlive.com/movies/2015/05/the_true_cost_of_fashion_who_i.html) 'The True Cost'of fashion, 'Who Is Gil Scott-Heron?,' and 'Johnny Guitar': Indie & art house picks" (http://www.oregonlive.com/movies/2015/05/the_true_cost_of_fashion_who_i.html) . OregonLive.com (/wiki/OregonLive.com) . Advance Digital (/wiki/Advance_Digital) . Archived (https://web.archive.org/web/20160827150507/http://www.oregonlive.com/movies/2015/05/the_true_cost_of_fashion_who_i.html) from the original on August 27, 2016 . Retrieved January 4, 2016 . ^ Jump up to: a b c d e Scheck, Frank (June 1, 2015). " (https://www.hollywoodreporter.com/review/true-cost-film-review-799133) 'The True Cost': Film Review" (https://www.hollywoodreporter.com/review/true-cost-film-review-799133) . The Hollywood Reporter . Prometheus Global Media (/wiki/Prometheus_Global_Media) . Archived (https://web.archive.org/web/20160730201532/http://www.hollywoodreporter.com/review/true-cost-film-review-799133) from the original on July 30, 2016 . Retrieved October 25, 2015 . ^ (#cite_ref-Vogue_8-0) Jones, Dolly (May 28, 2015). "Livia Firth: The True Cost" (https://www.vogue.co.uk/news/2015/05/28/the-true-cost-film-livia-firth-rana-plaza) . Vogue (/wiki/Vogue_(British_magazine)) . Condé Nast (/wiki/Cond%C3%A9_Nast) . Archived (https://web.archive.org/web/20160624023623/http://www.vogue.co.uk/news/2015/05/28/the-true-cost-film-livia-firth-rana-plaza) from the original on June 24, 2016 . Retrieved January 4, 2016 . ^ Jump up to: a b c d Quiros, Carson (June 3, 2015). " (https://www.pastemagazine.com/articles/2015/06/the-true-cost-might-just-be-for-fast-fashion-what.html) The True Cost is for Fast Fashion what (https://www.pastemagazine.com/articles/2015/06/the-true-cost-might-just-be-for-fast-fashion-what.html) Supersize Me Was for Fast Food" (https://www.pastemagazine.com/articles/2015/06/the-true-cost-might-just-be-for-fast-fashion-what.html) . Paste . Wolfgang's Vault (/wiki/Wolfgang%27s_Vault) . Archived (https://web.archive.org/web/20160819094117/https://www.pastemagazine.com/articles/2015/06/the-true-cost-might-just-be-for-fast-fashion-what.html) from the original on August 19, 2016 . Retrieved January 4, 2016 . ^ Jump up to: a b Kosin, Julie (May 29, 2015). " (http://www.harpersbazaar.com/culture/film-tv/reviews/a11041/the-true-cost-documentary/) 'The True Cost' Seeks to Expose the Consequences of Fast Fashion" (http://www.harpersbazaar.com/culture/film-tv/reviews/a11041/the-true-cost-documentary/) . Harper's Bazaar (/wiki/Harper%27s_Bazaar) . Hearst Digital Media (/wiki/Hearst_Digital_Media) . Archived (https://web.archive.org/web/20160710081833/http://www.harpersbazaar.com/culture/film-tv/reviews/a11041/the-true-cost-documentary/) from the original on July 10, 2016 . Retrieved January 5, 2016 . ^ Jump up to: a b c d Friedman, Vanessa (May 28, 2015). " (https://www.nytimes.com/2015/05/29/fashion/the-true-cost-a-different-kind-of-fashion-documentary.html) 'The True Cost,' a Different Kind of Fashion Documentary" (https://www.nytimes.com/2015/05/29/fashion/the-true-cost-a-different-kind-of-fashion-documentary.html) . The New York Times . Archived (https://web.archive.org/web/20150602073934/http://www.nytimes.com/2015/05/29/fashion/the-true-cost-a-different-kind-of-fashion-documentary.html?_r=0) from the original on June 2, 2015 . Retrieved October 25, 2015 . ^ Jump up to: a b c d Catsoulis, Jeannette (May 28, 2015). "Review: 'The True Cost' Investigates High Price of Fashion Bargains" (https://www.nytimes.com/2015/05/29/movies/review-the-true-cost-investigates-high-price-of-fashion-bargains.html) . The New York Times . Archived (https://web.archive.org/web/20160709050335/http://www.nytimes.com/2015/05/29/movies/review-the-true-cost-investigates-high-price-of-fashion-bargains.html?_r=1) from the original on July 9, 2016 . Retrieved October 25, 2015 . ^ Jump up to: a b c d e Koski, Genevieve (May 26, 2015). "The True Cost" (http://thedissolve.com/reviews/1611-the-true-cost/) . The Dissolve . Pitchfork Media (/wiki/Pitchfork_Media) . Archived (https://web.archive.org/web/20150528230549/http://thedissolve.com/reviews/1611-the-true-cost/) from the original on May 28, 2015 . Retrieved January 4, 2016 . ^ Jump up to: a b c d Fleming, Olivia (May 27, 2015). "Is Your $40 Skirt Hurting the Environment?" (http://www.elle.com/fashion/news/a28561/what-is-the-true-cost-of-fast-fashion/) . Elle (/wiki/Elle_(magazine)) . Hearst Digital Media. Archived (https://web.archive.org/web/20160603162634/http://www.elle.com/fashion/news/a28561/what-is-the-true-cost-of-fast-fashion/) from the original on June 3, 2016 . Retrieved January 4, 2016 . ^ (#cite_ref-NDR_15-0) Unger, Simone (July 6, 2015). "Der wahre Preis unserer Kleidung" (http://www.ndr.de/kultur/film/The-True-Cost-Fast-Fashion-Dokumentarfilm-Modeindustrie,kleidung116.html) [The true cost of our clothing]. Kultur Journal (in German). Norddeutscher Rundfunk (/wiki/Norddeutscher_Rundfunk) . Archived (https://web.archive.org/web/20150707210117/http://www.ndr.de/kultur/film/The-True-Cost-Fast-Fashion-Dokumentarfilm-Modeindustrie,kleidung116.html) from the original on July 7, 2015 . Retrieved January 5, 2016 . ^ Jump up to: a b c d e Titze, Anne-Katrin (July 5, 2015). "Dressed to kill" (http://www.eyeforfilm.co.uk/feature/2015-07-05-andrew-morgan-in-conversation-on-the-true-cost-feature-story-by-anne-katrin-titze) . Eye for Film . Archived (https://web.archive.org/web/20160704032244/http://www.eyeforfilm.co.uk/feature/2015-07-05-andrew-morgan-in-conversation-on-the-true-cost-feature-story-by-anne-katrin-titze) from the original on July 4, 2016 . Retrieved January 5, 2016 . ^ Jump up to: a b c d Wilson, Gabrielle (May 29, 2015). "Must-Watch: 'The True Cost' Shines A Light On The Human Price Of Your Bargain Shopping" (https://web.archive.org/web/20150602221155/http://www.mtv.com/news/2172703/the-true-cost-documentary-fast-fashion/) . MTV . Viacom (/wiki/Viacom_(2005%E2%80%93present)) . Archived from the original (http://www.mtv.com/news/2172703/the-true-cost-documentary-fast-fashion/) on June 2, 2015 . Retrieved January 5, 2016 . ^ Jump up to: a b c Kawakami, Robin (May 29, 2015). "Documentary Exposes Hidden Costs of $8 Jeans" (https://blogs.wsj.com/speakeasy/2015/05/29/fashion-documentary-exposes-environmental-and-human-costs-of-those-8-jeans/) . The Wall Street Journal . Archived (https://web.archive.org/web/20170205183535/http://blogs.wsj.com/speakeasy/2015/05/29/fashion-documentary-exposes-environmental-and-human-costs-of-those-8-jeans/) from the original on February 5, 2017 . Retrieved January 4, 2016 . ^ Jump up to: a b c Kermode, Jennie (May 20, 2015). "The True Cost (2015) Film Review" (http://www.eyeforfilm.co.uk/review/the-true-cost-2015-film-review-by-jennie-kermode) . Eye for Film . Archived (https://web.archive.org/web/20170205182120/http://www.eyeforfilm.co.uk/review/the-true-cost-2015-film-review-by-jennie-kermode) from the original on February 5, 2017 . Retrieved January 4, 2016 . ^ Jump up to: a b Ross, Robert J. S. (December 10, 2015). "The High Toll of Fast Fashion" (https://www.dissentmagazine.org/blog/the-true-cost-review-fast-fashion-rana-plaza-accord) . Dissent . University of Pennsylvania Press (/wiki/University_of_Pennsylvania_Press) . 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Doga.no (in Norwegian). Norsk design- og arkitektursenter. November 18, 2015. Archived from the original (http://doga.no/arrangementer/design-og-arkitektur-p%C3%A5-stort-lerret-the-true-cost) on February 5, 2017 . Retrieved January 5, 2016 . ^ (#cite_ref-ElPais_23-0) Ballesteros, María (August 21, 2015). "Este es el coste real de la ropa que te pones" (http://elpais.com/elpais/2015/08/21/tentaciones/1440149278_110351.html) [This is the true cost of the clothing you wear]. El País (/wiki/El_Pa%C3%ADs) (in Spanish). PRISA (/wiki/PRISA) . Archived (https://web.archive.org/web/20170205183135/http://elpais.com/elpais/2015/08/21/tentaciones/1440149278_110351.html) from the original on February 5, 2017 . Retrieved January 5, 2015 . ^ Jump up to: a b Crocker, Lizzie (May 26, 2015). "There Are No Easy Answers to Fashion's Cruelty" (http://www.thedailybeast.com/articles/2015/05/26/there-are-no-easy-answers-to-fashion-s-cruelty.html) . The Daily Beast . IAC (/wiki/IAC_(company)) . 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Los Angeles Times . Archived (https://web.archive.org/web/20170205182402/http://www.latimes.com/entertainment/movies/la-et-mn-true-cost-movie-review-20150529-story.html) from the original on February 5, 2017 . Retrieved January 4, 2016 . ^ (#cite_ref-libraryjournal_27-0) "LJ Media Reviews: May 16, 2016" (http://reviews.libraryjournal.com/2016/05/media/lj-media-reviews-may-16-2016/) . Library Journal (/wiki/Library_Journal) . May 12, 2016. Archived (https://web.archive.org/web/20170829123456/http://reviews.libraryjournal.com/2016/05/media/lj-media-reviews-may-16-2016/) from the original on August 29, 2017 . Retrieved August 29, 2017 . ^ Jump up to: a b "The True Cost" (http://bullfrogfilms.com/catalog/true.html) . Bullfrog Films. Archived (https://web.archive.org/web/20170829121229/http://bullfrogfilms.com/catalog/true.html) from the original on August 29, 2017 . Retrieved August 29, 2017 . ^ Jump up to: a b c d e f g Blanchard, Tamsin (June 2, 2015). "The True Cost: new documentary spotlights the impact of fast fashion" (https://web.archive.org/web/20150812070240/http://www.telegraph.co.uk/fashion/events/True-cost-the-documentary-highlights-issues-with-fast-fashion/) . The Daily Telegraph . Archived from the original (https://www.telegraph.co.uk/fashion/events/True-cost-the-documentary-highlights-issues-with-fast-fashion/) on August 12, 2015 . Retrieved October 25, 2015 . ^ Jump up to: a b Morgan, Andrew (April 24, 2015). "A New Future For Fashion" (https://www.huffingtonpost.com/andrew-morgan/a-new-future-for-fashion_b_7120694.html) . The Huffington Post (/wiki/The_Huffington_Post) . AOL (/wiki/AOL) . Archived (https://web.archive.org/web/20170206022155/http://www.huffingtonpost.com/andrew-morgan/a-new-future-for-fashion_b_7120694.html) from the original on February 6, 2017 . Retrieved January 5, 2016 . ^ (#cite_ref-HuffP_31-0) Rother, Nina E. (March 6, 2015). "Uncovering (https://www.huffingtonpost.com/e-nina-rothe/uncovering-the-true-cost_b_7500590.html) The True Cost of Fast Fashion With Livia Firth in Cannes" (https://www.huffingtonpost.com/e-nina-rothe/uncovering-the-true-cost_b_7500590.html) . The Huffington Post . AOL. Archived (https://web.archive.org/web/20170205182705/http://www.huffingtonpost.com/e-nina-rothe/uncovering-the-true-cost_b_7500590.html) from the original on February 5, 2017 . Retrieved January 4, 2016 . ^ (#cite_ref-FashionLaw_32-0) "From Cannes: "The True Cost" of Fast Fashion" (http://www.thefashionlaw.com/archive/from-cannes-the-true-cost-of-fast-fashion) . The Fashion Law . May 21, 2015. Archived (https://web.archive.org/web/20170206103556/http://www.thefashionlaw.com/home/from-cannes-the-true-cost-of-fast-fashion) from the original on February 6, 2017 . Retrieved October 25, 2015 . ^ (#cite_ref-Guardian_Cannes_33-0) Lee, Benjamin (May 19, 2015). "Livia Firth: the fashion industry is 'so messed up' (https://www.theguardian.com/film/2015/may/19/livia-firth-the-fashion-industry-is-so-messed-up-cannes) " (https://www.theguardian.com/film/2015/may/19/livia-firth-the-fashion-industry-is-so-messed-up-cannes) . The Guardian . Archived (https://web.archive.org/web/20170610023710/https://www.theguardian.com/film/2015/may/19/livia-firth-the-fashion-industry-is-so-messed-up-cannes) from the original on June 10, 2017 . Retrieved October 25, 2015 . ^ (#cite_ref-Grazia_34-0) Spedding, Emma (April 24, 2015). "Fashion Revolution Day: Watch The Trailer For Powerful Documentary 'The True Cost' (http://lifestyle.one/grazia/fashion/news/fashion-revolution-day-2015/) " (http://lifestyle.one/grazia/fashion/news/fashion-revolution-day-2015/) . Grazia (/wiki/Grazia) UK . Bauer Lifestyle (/wiki/Bauer_Media_Group) . Archived (https://web.archive.org/web/20160927105031/http://lifestyle.one/grazia/fashion/news/fashion-revolution-day-2015/) from the original on September 27, 2016 . Retrieved January 5, 2016 . ^ (#cite_ref-RottenT_35-0) "The True Cost (2015)" (https://www.rottentomatoes.com/m/771418456) . Rotten Tomatoes . Flixster (/wiki/Flixster) . Retrieved March 15, 2016 . ^ (#cite_ref-MetaC_36-0) "The True Cost Reviews" (https://web.archive.org/web/20170505091633/http://www.metacritic.com/movie/the-true-cost) . Metacritic . CBS Interactive (/wiki/CBS_Interactive) . Archived from the original (https://www.metacritic.com/movie/the-true-cost) on May 5, 2017 . Retrieved October 24, 2014 . ^ (#cite_ref-EMA_37-0) " (https://www.hollywoodreporter.com/news/environmental-media-awards-nominees-2015-819977) 'Mad Max: Fury Road,' 'Interstellar,' 'Virunga' Among Environmental Media Awards Nominees" (https://www.hollywoodreporter.com/news/environmental-media-awards-nominees-2015-819977) . The Hollywood Reporter . Prometheus Global Media. September 2, 2015. Archived (https://web.archive.org/web/20160419213117/http://www.hollywoodreporter.com/news/environmental-media-awards-nominees-2015-819977) from the original on April 19, 2016 . Retrieved October 25, 2015 . ^ (#cite_ref-WW_38-0) Spitz, Enid (November 26, 2015). "Silver Screening: Movies to Watch Nov. 25-Dec. 1" (http://www.wweek.com/arts/2015/11/26/silver-screening-movies-to-watch-nov-25-dec-1/) . Willamette Week . City of Roses Newspapers. Archived (https://web.archive.org/web/20170205183838/http://www.wweek.com/arts/2015/11/26/silver-screening-movies-to-watch-nov-25-dec-1/) from the original on February 5, 2017 . Retrieved January 4, 2016 . 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South Korean fashion designer Not to be confused with Kim Min-ju (/wiki/Kim_Min-ju) . Minju Kim Born 1985 or 1986 (age 38–39) Gwangju (/wiki/Gwangju) , South Korea Education Samsung Art & Design Institute, Royal Academy of Fine Arts (Antwerp) (/wiki/Royal_Academy_of_Fine_Arts_(Antwerp)) Website minjukim (https://minjukim.co/) .co (https://minjukim.co/) Minju Kim (born c. 1986 ) [1] (#cite_note-1) is a South Korean fashion designer (/wiki/Fashion_design) known for her womenswear and use of bold prints. In 2020 she was named the winner of the first season of Netflix (/wiki/Netflix) 's Next In Fashion (/wiki/Next_In_Fashion) . Kim was born in Gwangju (/wiki/Gwangju) , South Korea and studied in New Zealand (/wiki/New_Zealand) as a teenager. She originally wanted to attend art school and become a cartoonist, but was encouraged by her parents to study fashion design in Seoul. [2] (#cite_note-Park-2) She studied fashion design at the Samsung Art & Design Institute, followed by a master's degree (/wiki/Master%27s_degree) at the Royal Academy of Fine Arts (/wiki/Royal_Academy_of_Fine_Arts_(Antwerp)) in Antwerp. [3] (#cite_note-Kozma-3) [4] (#cite_note-Cremona-4) Kim credits the influence of designers and RAFA instructors such as Walter Van Beirendonck (/wiki/Walter_Van_Beirendonck) with sparking her love of fashion design. [2] (#cite_note-Park-2) Career [ edit ] Kim launched her self-named, Seoul-based company MINJUKIM in 2015. [5] (#cite_note-Kwong-5) She is known for starting her fashion shows with a design featuring a core, self-designed print that appears throughout the rest of the collection. [6] (#cite_note-Kim-6) Her 2018 Fall collection print was based on Galaxy Express 999 (/wiki/Galaxy_Express_999) . [6] (#cite_note-Kim-6) In addition to releasing collections each year, Kim has designed for BTS (/wiki/BTS_(band)) and Red Velvet (/wiki/Red_Velvet_(group)) . [2] (#cite_note-Park-2) She also teaches design classes at Kookmin University (/wiki/Kookmin_University) . [2] (#cite_note-Park-2) In 2020 Kim was named the winner of Netflix's reality show (/wiki/Reality_show) and fashion design competition, Next In Fashion (/wiki/Next_In_Fashion) , edging out British designer Daniel Fletcher. She competed with Chinese designer Angel Chen (/wiki/Angel_Chen) during the team-based portion of the competition and the pair dubbed themselves as 'Dragon Princess'. [7] (#cite_note-Seward-7) As winner Kim received US$250,000 from Net-a-Porter (/wiki/Net-a-Porter) to launch a collection for sale on their site. [8] (#cite_note-Williams-8) Kim was previously the winner of the 2013 H&M Design Award (/wiki/H%26M_Design_Award) and was shortlisted for the LVMH Prize for Young Fashion Designers in 2014. [9] (#cite_note-Spencer-9) In 2021, Kim collaborated with the brand & Other Stories , a brand which is under the H&M Group . The launch of her collection, the Minjukim collection, quickly sold out and was largely successful. The limited collection was sold worldwide, and was sold out online within an hour on the Korean webstore. [10] (#cite_note-:0-10) The & Other Stories collab was inspired by Kim's Spring-Summer collection of 2016, which was her brand's second collection to debut. [10] (#cite_note-:0-10) The apparel consisted mostly of pastel colors and prints, accompanied by accessories such as sunglasses and hair clips which were also aligned with the spring theme. [10] (#cite_note-:0-10) In 2022, Kim launched a fall apparel line, where she shared her designs on her Instagram and official website. Several notable celebrities followed her on her social media account, like Riverdale (/wiki/Riverdale_(2017_TV_series)) star Lili Reinhart (/wiki/Lili_Reinhart) and more. [11] (#cite_note-11) References [ edit ] ^ (#cite_ref-1) Tee, Karen (4 March 2020). "Is Korean designer Minju Kim the next big thing in fashion? We say yes" (https://cnaluxury.channelnewsasia.com/people/minju-kim-netflix-next-in-fashion-12494354) . ChannelNewsAsia (/wiki/CNA_(TV_network)) . Archived (https://web.archive.org/web/20230524112322/https://cnaluxury.channelnewsasia.com/people/minju-kim-netflix-next-in-fashion-173926) from the original on 24 May 2023 . Retrieved 28 September 2020 . ^ Jump up to: a b c d Park, Ji-won (16 February 2020). "Netflix's fashion competition winner talks her brand, ultimate goal" (https://www.koreatimes.co.kr/www/art/2020/02/199_283549.html) . The Korea Times (/wiki/The_Korea_Times) . Archived (https://web.archive.org/web/20230523094620/http://www.koreatimes.co.kr/www/art/2020/02/199_283549.html) from the original on 23 May 2023 . Retrieved 17 February 2020 . ^ (#cite_ref-Kozma_3-0) Kozma, Leila (30 January 2020). " (https://www.distractify.com/p/minju-kim-next-in-fashion) 'Next in Fashion' Star Minju Kim Designed Clothes for K-Pop Sensation BTS in the Past" (https://www.distractify.com/p/minju-kim-next-in-fashion) . Distractify (/wiki/Distractify) . Archived (https://web.archive.org/web/20230306171922/https://www.distractify.com/p/minju-kim-next-in-fashion) from the original on 6 March 2023 . Retrieved 17 February 2020 . ^ (#cite_ref-Cremona_4-0) Cremona, Patrick (29 January 2020). "Next in Fashion: meet the designers" (https://www.radiotimes.com/news/on-demand/2020-01-29/next-in-fashion-cast-designers-contestants/) . Radio Times (/wiki/Radio_Times) . Archived (https://web.archive.org/web/20230103150114/https://www.radiotimes.com/tv/entertainment/next-in-fashion-cast-designers-contestants/) from the original on 3 January 2023 . Retrieved 17 February 2020 . ^ (#cite_ref-Kwong_5-0) Kwong, Debby (12 October 2018). "Introducing Minju Kim, the South Korean designer everyone's been talking about in Singapore" (https://web.archive.org/web/20210419121447/https://www.buro247.sg/fashion/insiders/meet-minju-kim-the-south-korean-designer-everyone-s-been-talking-about-in-singapore.html) . BURO 24/7 . Archived from the original (https://www.buro247.sg/fashion/insiders/meet-minju-kim-the-south-korean-designer-everyone-s-been-talking-about-in-singapore.html) on 19 April 2021 . Retrieved 17 February 2020 . ^ Jump up to: a b Kim, Monica (26 March 2018). "Minju Kim - Seoul Fall 2018 Fashion Show" (https://www.vogue.com/fashion-shows/seoul-fall-2018/minju-kim) . Vogue (/wiki/Vogue_(magazine)) . Archived (https://web.archive.org/web/20230303070031/https://www.vogue.com/fashion-shows/seoul-fall-2018/minju-kim) from the original on 3 March 2023 . Retrieved 17 February 2020 . ^ (#cite_ref-Seward_7-0) Seward, Mahoro (6 February 2020). "Next in Fashion's Minju Kim is the relatable hero we all need" (https://i-d.vice.com/en_uk/article/n7j79w/next-in-fashion-ode-to-minju-kim) . i-D (/wiki/I-D) . Archived (https://web.archive.org/web/20230523094622/https://i-d.vice.com/en/article/n7j79w/next-in-fashion-ode-to-minju-kim) from the original on 23 May 2023 . Retrieved 17 February 2020 . ^ (#cite_ref-Williams_8-0) Williams, Helen (15 February 2020). "Minju Kim for H and M: How to buy clothes from the Next in Fashion designer's line" (https://www.realitytitbit.com/whats-on/minju-kim-for-h-and-m-buy-clothes-from-the-next-in-fashion-designers-line) . Reality Titbit . Archived (https://web.archive.org/web/20230227194204/https://www.realitytitbit.com/whats-on/minju-kim-for-h-and-m-buy-clothes-from-the-next-in-fashion-designers-line) from the original on 27 February 2023 . Retrieved 17 February 2020 . ^ (#cite_ref-Spencer_9-0) Spencer, Samuel (3 February 2020). "How to buy the 'Next in Fashion' winner's collection" (https://www.newsweek.com/next-fashion-who-won-minju-kim-buy-collection-netflix-h-m-minjukim-1485436) . Newsweek (/wiki/Newsweek) . Archived (https://web.archive.org/web/20200228044927/https://www.newsweek.com/next-fashion-who-won-minju-kim-buy-collection-netflix-h-m-minjukim-1485436) from the original on 28 February 2020 . Retrieved 17 February 2020 . ^ Jump up to: a b c Shin, Min-Hee (31 March 2022). "Minju Kim unabashedly continues to turn heads" (https://koreajoongangdaily.joins.com/2022/03/31/culture/features/-Other-Stories-MINJUKIM-Minju-Kim/20220331165709297.html) . Korea JoongAng Daily (/wiki/Korea_JoongAng_Daily) . Archived (https://web.archive.org/web/20221004132437/https://koreajoongangdaily.joins.com/2022/03/31/culture/features/-Other-Stories-MINJUKIM-Minju-Kim/20220331165709297.html) from the original on 4 October 2022 . Retrieved 5 November 2022 . ^ (#cite_ref-11) Lemon, Mads (3 March 2023). "Where is the Next in Fashion season 1 winner now? (Who is Minju Kim?)" (https://netflixlife.com/2023/03/03/where-is-the-next-in-fashion-season-1-winner-now-minju-kim/) . Netflix Life - FanSided (/wiki/FanSided) . Archived (https://web.archive.org/web/20230313060725/https://netflixlife.com/2023/03/03/where-is-the-next-in-fashion-season-1-winner-now-minju-kim/) from the original on 13 March 2023 . Retrieved 31 March 2023 . 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High fashion art exhibition Dress by Jun Takahashi (/wiki/Jun_Takahashi) Sleeping Beauties: Reawakening Fashion is the 2024 high fashion (/wiki/High_fashion) art exhibition (/wiki/Art_exhibition) of the Anna Wintour Costume Center (/wiki/Anna_Wintour_Costume_Center) , a wing of the Metropolitan Museum of Art (/wiki/Metropolitan_Museum_of_Art) (MMA) which houses the collection of the Costume Institute (/wiki/Costume_Institute) . The exhibition was announced on November 8, 2023. [1] (#cite_note-1) The exhibition is held at the museum from May 10 to September 2, 2024. [2] (#cite_note-2) It featured approximately 250 items from the permanent collection of the Costume Institute that were displayed using AI and CGI with themes of sea, land, and sky as a metaphor for the fragility and ephemerality of fashion and a vehicle to examine the cyclical themes of rebirth and renewal. [3] (#cite_note-3) [4] (#cite_note-4) Met Gala [ edit ] The Costume Institute at the Metropolitan Museum of Art (/wiki/Metropolitan_Museum_of_Art) inaugurates its annual exhibition with a formal benefit dinner at The Costume Institute Benefit (/wiki/Costume_Institute_Gala) , also informally known as the Met Gala (/wiki/Met_Gala) . The annual gala for the 2024 exhibition took place on May 6, 2024. The co-chairs for the event were Bad Bunny (/wiki/Bad_Bunny) , Chris Hemsworth (/wiki/Chris_Hemsworth) , Jennifer Lopez (/wiki/Jennifer_Lopez) , Anna Wintour (/wiki/Anna_Wintour) , and Zendaya (/wiki/Zendaya) . [5] (#cite_note-5) The dress code for the evening was "The Garden of Time" inspired by the short story of the same name by J. G. Ballard (/wiki/J._G._Ballard) . [6] (#cite_note-6) Shou Zi Chew (/wiki/Shou_Zi_Chew) , chief executive officer of TikTok (/wiki/TikTok) , and Jonathan Anderson (/wiki/Jonathan_Anderson_(fashion_designer)) , creative director of Loewe (/wiki/Loewe_(fashion_brand)) , served as honorary chairs of the event. [7] (#cite_note-7) Co-chairs Zendaya and Bad Bunny, Tyla (/wiki/Tyla_(South_African_singer)) , Elle Fanning (/wiki/Elle_Fanning) , Taylor Russell (/wiki/Taylor_Russell) , Ariana Grande (/wiki/Ariana_Grande) , Rebecca Ferguson (/wiki/Rebecca_Ferguson) , Kendall Jenner (/wiki/Kendall_Jenner) , Cardi B (/wiki/Cardi_B) , Nicki Minaj (/wiki/Nicki_Minaj) , Greta Lee (/wiki/Greta_Lee) and Aya Nakamura (/wiki/Aya_Nakamura) were hailed as the best-dressed at the gala across multiple publications such as Vogue (/wiki/Vogue_(magazine)) , Harper's Bazaar (/wiki/Harper%27s_Bazaar) , Rolling Stone (/wiki/Rolling_Stone) and The Washington Post (/wiki/The_Washington_Post) . [8] (#cite_note-8) [9] (#cite_note-9) [10] (#cite_note-10) [11] (#cite_note-11) The event received criticism across social media [12] (#cite_note-12) and numerous publications. Naomi May from Elle (/wiki/Elle_(magazine)) labelled the looks on the red carpet as "tired" and in need of "an injection of fresh blood and energy." [13] (#cite_note-13) A guest at the event stated "It was the most boring and least exciting gala than in years past" and attributed the dull night to a lack of star power. [14] (#cite_note-14) In 2024, the Met Gala was the catalyst for the Blockout 2024 (/wiki/Blockout_2024) online social media campaign to block the accounts of celebrities who attended the event [15] (#cite_note-15) The appearance of attendees after recent university campus war protests (/wiki/2024_pro-Palestinian_protests_on_university_campuses) related to the Gaza–Israel conflict (/wiki/Gaza%E2%80%93Israel_conflict) and the ongoing Rafah offensive (/wiki/Rafah_offensive) caused many to compare the celebrities to those in The Hunger Games (/wiki/The_Hunger_Games) . [16] (#cite_note-16) Exhibition design [ edit ] Clamshell dress by Alexander McQueen (/wiki/Alexander_McQueen) The exhibition was curated by Andrew Bolton (/wiki/Andrew_Bolton_(curator)) , the Curator in Charge of The Costume Institute since 2015. Photographer Nick Knight (/wiki/Nick_Knight_(photographer)) acted as the Creative Consultant for the exhibition, with Knight's own fashion communications company SHOWstudio (/wiki/SHOWstudio) developing various technological activations included in the exhibition. [17] (#cite_note-17) The exhibition design was constructed by architecture studio and design consultancy Leong Leong (/wiki/Leong_Leong) in collaboration with The Met’s Design Department. [18] (#cite_note-18) Researcher and artist Sissel Tolaas (/wiki/Sissel_Tolaas) developed smells to accompany select objects in the show, to incorporate the exhibition's theming around decay. [19] (#cite_note-19) The “Sleeping Beauties” that the exhibition is titled after are the garments themselves, with over 220 pieces dating from the 17th century to the fall 2024 collections displayed. [20] (#cite_note-20) This is the largest Costume Institute show in terms of objects composed exclusively of pieces already in the museum’s collection. [21] (#cite_note-21) The Costume Institute also made 75 new acquisitions for the exhibition. [22] (#cite_note-22) Many of the most fragile garments had to be displayed lying down inside glass boxes for preservation and to mimic the exhibition's theme [23] (#cite_note-23) or were reimagined through video animation. [24] (#cite_note-24) The exhibition included tactile 3D-printed plastic replicas, embroidery-embossed wallpaper, isolated recordings of pieces captured in an anechoic chamber, projections, scratch-and-sniff scents and other smell displays. [25] (#cite_note-25) The Costume Institute set up ChatGPT (/wiki/ChatGPT) to allow visitors to "communicate" with socialite Natalie Porter, who wore the Callot Soeurs (/wiki/Callot_Soeurs) wedding ensemble that punctuates the show. [26] (#cite_note-26) [27] (#cite_note-27) The exhibition featured a Loewe (/wiki/Loewe_(fashion_brand)) overcoat that sprouted real grass, which had to be replaced by a new version every week because the grass could not survive that long without being watered. [28] (#cite_note-28) Bolton commented on the exhibition's intentions: “When an item of clothing enters our collection, its status is changed irrevocably. What was once a vital part of a person’s lived experience is now a motionless ‘artwork’ that can no longer be worn or heard, touched, or smelled. The exhibition endeavors to animate these artworks by re-awakening their sensory capacities through a range of technologies, affording visitors sensorial ‘access’ to rare historical garments and rarefied contemporary fashions. By appealing to the widest possible range of human senses, the show aims to reconnect with the works on display as they were originally intended—with vibrancy, with dynamism, and ultimately with life.” [29] (#cite_note-29) "Ammonite" dress by Bea Szenfeld (/wiki/Bea_Szenfeld) "Butterfly" ball gown by Charles James (/wiki/Charles_James_(designer)) Dress by Joanathan Anderson for Loewe Designers included in the exhibition: Jonathan Anderson (/wiki/Jonathan_Anderson_(fashion_designer)) Cristóbal Balenciaga (/wiki/Crist%C3%B3bal_Balenciaga) Main Bocher (/wiki/Main_Bocher) Hattie Carnegie (/wiki/Hattie_Carnegie) Lilly Daché (/wiki/Lilly_Dach%C3%A9) Hubert de Givenchy (/wiki/Hubert_de_Givenchy) Deirdre Hawken Stephen Jones (/wiki/Stephen_Jones_(milliner)) Guy Laroche (/wiki/Guy_Laroche) Madame Pauline Alexander McQueen (/wiki/Alexander_McQueen) Elsa Schiaparelli (/wiki/Elsa_Schiaparelli) Sally Victor (/wiki/Sally_Victor) Critical Reception [ edit ] The exhibition received mixed critical reviews from publications such as The New York Times (/wiki/The_New_York_Times) , The Washington Post (/wiki/The_Washington_Post) , The Wall Street Journal (/wiki/The_Wall_Street_Journal) and The Guardian (/wiki/The_Guardian) . Max Berlinger writing for The Guardian praised the exhibition as a "feast for the senses" and commended the exhibition's focus on decay, highlighting that fashion is the most human of design endeavours as it is dependent on its interaction with the human body. [30] (#cite_note-30) The Independent (/wiki/The_Independent) praised the exhibition for allowing visitors to build "an intimate connection" with the garments on display through its "innovative" methods. [31] (#cite_note-31) However, Rachel Tashjian for The Washington Post hailed the exhibition as "well-intentioned" but "emphasizing a convoluted approach to technology" over the garments' wearers. [32] (#cite_note-32) The New York Times criticized the exhibition's use of technology, calling it more like "[a] fun house" and noted the sponsorship of TikTok (/wiki/TikTok) . [33] (#cite_note-33) References [ edit ] ^ (#cite_ref-1) "The Met Announces The Costume Institute's Spring 2024 Exhibition and Gala - The Metropolitan Museum of Art" (https://www.metmuseum.org/press/exhibitions/2023/sleeping-beauties) . www.metmuseum.org . Retrieved 2024-05-09 . ^ (#cite_ref-2) "The Metropolitan Museum of Art Releases New Details About The Costume Institute's Spring 2024 Exhibition - The Metropolitan Museum of Art" (https://www.metmuseum.org/press/exhibitions/2024/sleeping-beauties_advanced-details) . www.metmuseum.org . Retrieved 2024-05-09 . ^ (#cite_ref-3) "Zendaya, Jennifer Lopez, Bad Bunny, and Chris Hemsworth Are the 2024 Met Gala Co-Chairs" (https://www.vogue.com/article/met-gala-cohosts-2024) . Vogue . February 15, 2024. ^ (#cite_ref-4) "The 2024 Met Gala theme has been announced" (https://www.harpersbazaar.com/uk/fashion/a36092219/met-gala-theme/) . Harper's BAZAAR . February 15, 2024. ^ (#cite_ref-5) "The Metropolitan Museum of Art Releases New Details About The Costume Institute's Spring 2024 Exhibition - The Metropolitan Museum of Art" (https://www.metmuseum.org/press/exhibitions/2024/sleeping-beauties_advanced-details) . www.metmuseum.org . Retrieved 2024-05-07 . ^ (#cite_ref-6) Nast, Condé (2024-02-15). "Tonight's 2024 Met Gala Dress Code, Explained" (https://www.vogue.com/article/met-gala-dress-code-2024) . Vogue . Retrieved 2024-05-07 . ^ (#cite_ref-7) "The Metropolitan Museum of Art Releases New Details About The Costume Institute's Spring 2024 Exhibition - The Metropolitan Museum of Art" (https://www.metmuseum.org/press/exhibitions/2024/sleeping-beauties_advanced-details) . www.metmuseum.org . Retrieved 2024-05-07 . ^ (#cite_ref-8) "The Met Gala 2024: The 10 best dressed" (https://www.harpersbazaar.com/uk/fashion/fashion-news/g60711681/met-gala-2024-best-dressed/) . Harper's BAZAAR . 2024-05-07 . Retrieved 2024-05-07 . ^ (#cite_ref-9) Lotz, Tim Chan,Miles Klee,Griffin; Chan, Tim; Klee, Miles; Lotz, Griffin (2024-05-07). "From Bad Bunny to Zendaya, Here Are the Best (and Wildest) Fashion Looks From the 2024 Met Gala" (https://www.rollingstone.com/culture/culture-pictures/met-gala-2024-red-carpet-fashion-photos-best-worst-dressed-1235015866/) . Rolling Stone . Retrieved 2024-05-08 . {{ cite web (/wiki/Template:Cite_web) }} : CS1 maint: multiple names: authors list ( link (/wiki/Category:CS1_maint:_multiple_names:_authors_list) ) ^ (#cite_ref-10) Nast, Condé (2024-05-07). "The Best-Dressed Stars At The 2024 Met Gala" (https://www.vogue.co.uk/gallery/met-gala-2024-best-dressed) . British Vogue . Retrieved 2024-05-07 . ^ (#cite_ref-11) "Best Met Gala looks from the 2024 red carpet" (https://www.washingtonpost.com/style/fashion/2024/05/06/met-gala-best-looks/) . The Washington Post . 6 May 2024 . Retrieved 7 May 2024 . ^ (#cite_ref-12) "People Are Calling The 2024 Met Gala The "Most Boring" Met Gala Ever" (https://www.capitalfm.com/news/met-gala-2024-red-carpet-memes/) . Capital . Retrieved 2024-05-11 . ^ (#cite_ref-13) "Why Did Everything At The Met Gala Feel So Boring?" (https://www.elle.com/uk/fashion/celebrity-style/a60714894/met-gala-peak-red-carpet-style/) . ELLE . 2024-05-07 . Retrieved 2024-05-11 . ^ (#cite_ref-14) "Longtime Met Gala Guest Laments This Year's 'Boring' Style: 'In Years Past, It Was More Outlandish' (Exclusive)" (https://people.com/2024-met-gala-guest-insider-laments-boring-style-exclusive-8645380) . Peoplemag . Retrieved 2024-05-11 . ^ (#cite_ref-15) Veltman, Chloe (11 May 2024). "The Met Gala has fueled backlash against stars who are silent about the Gaza conflict" (https://www.npr.org/2024/05/11/1250506915/met-gala-block-israel) . NPR . Retrieved 12 May 2024 . ^ (#cite_ref-16) Navlakha, Meera (2024-05-07). "Why the internet is comparing the Met Gala to 'The Hunger Games' (https://mashable.com/article/met-gala-2024-hunger-games) " (https://mashable.com/article/met-gala-2024-hunger-games) . Mashable . Retrieved 2024-05-12 . ^ (#cite_ref-17) "The Metropolitan Museum of Art Releases New Details About The Costume Institute's Spring 2024 Exhibition - The Metropolitan Museum of Art" (https://www.metmuseum.org/press/exhibitions/2024/sleeping-beauties_advanced-details) . www.metmuseum.org . Retrieved 2024-05-07 . ^ (#cite_ref-18) "The Metropolitan Museum of Art Releases New Details About The Costume Institute's Spring 2024 Exhibition - The Metropolitan Museum of Art" (https://www.metmuseum.org/press/exhibitions/2024/sleeping-beauties_advanced-details) . www.metmuseum.org . Retrieved 2024-05-07 . ^ (#cite_ref-19) "The Metropolitan Museum of Art Releases New Details About The Costume Institute's Spring 2024 Exhibition - The Metropolitan Museum of Art" (https://www.metmuseum.org/press/exhibitions/2024/sleeping-beauties_advanced-details) . www.metmuseum.org . Retrieved 2024-05-07 . ^ (#cite_ref-20) Nast, Condé (2024-05-06). " (https://www.vogue.com/article/sleeping-beauty-reawakening-fashion-press-preview) "What We Do Has Historical Importance"—Inside The Met's Press Preview for "Sleeping Beauties: Reawakening Fashion" With Jonathan Anderson and Andrew Bolton" (https://www.vogue.com/article/sleeping-beauty-reawakening-fashion-press-preview) . Vogue . Retrieved 2024-05-11 . ^ (#cite_ref-21) Tashjian, Rachel (2024-05-11). "Perspective \| 'Sleeping Beauties' fails to wake its dead" (https://www.washingtonpost.com/style/fashion/2024/05/10/costume-institute-met-sleeping-beauties/) . Washington Post . ISSN (/wiki/ISSN_(identifier)) 0190-8286 (https://www.worldcat.org/issn/0190-8286) . Retrieved 2024-05-11 . ^ (#cite_ref-22) Berlinger, Max (2024-05-07). "Met exhibition review: 2024's spring show is a feast for the senses" (https://www.theguardian.com/fashion/article/2024/may/07/met-2024-spring-exhibition-review-sleeping-beauties-reawakening-fashion) . The Guardian . ISSN (/wiki/ISSN_(identifier)) 0261-3077 (https://www.worldcat.org/issn/0261-3077) . Retrieved 2024-05-11 . ^ (#cite_ref-23) Nast, Condé (2024-05-06). " (https://www.vogue.com/article/sleeping-beauty-reawakening-fashion-press-preview) "What We Do Has Historical Importance"—Inside The Met's Press Preview for "Sleeping Beauties: Reawakening Fashion" With Jonathan Anderson and Andrew Bolton" (https://www.vogue.com/article/sleeping-beauty-reawakening-fashion-press-preview) . Vogue . Retrieved 2024-05-11 . ^ (#cite_ref-24) "Sleeping Beauties: Reawakening Fashion – Review of The Met's spring exhibition" (https://www.independent.co.uk/life-style/met-gala-sleeping-beauties-review-b2543207.html) . The Independent . 2024-05-10 . Retrieved 2024-05-11 . ^ (#cite_ref-25) Colón, Ana (2024-05-07). " (https://fashionista.com/2024/05/sleeping-beauties-reawakening-fashion-costume-institute-exhibit-2024-review) 'Sleeping Beauties' Proposes a More Human Way of Studying and Preserving Fashion" (https://fashionista.com/2024/05/sleeping-beauties-reawakening-fashion-costume-institute-exhibit-2024-review) . Fashionista . Retrieved 2024-05-11 . ^ (#cite_ref-26) Colón, Ana (2024-05-07). " (https://fashionista.com/2024/05/sleeping-beauties-reawakening-fashion-costume-institute-exhibit-2024-review) 'Sleeping Beauties' Proposes a More Human Way of Studying and Preserving Fashion" (https://fashionista.com/2024/05/sleeping-beauties-reawakening-fashion-costume-institute-exhibit-2024-review) . Fashionista . Retrieved 2024-05-11 . ^ (#cite_ref-27) "Chat with Natalie" (https://chatnataliepotter.metmuseum.org/visit) . chatnataliepotter.metmuseum.org . Retrieved 2024-05-11 . ^ (#cite_ref-28) Friedman, Vanessa; Farago, Jason (2024-05-09). "At the Met, Sleeping Beauty Wakes Up in the Chemistry Lab" (https://www.nytimes.com/2024/05/09/arts/design/fashion-met-gala-costume-institute-review.html) . The New York Times . ISSN (/wiki/ISSN_(identifier)) 0362-4331 (https://www.worldcat.org/issn/0362-4331) . Retrieved 2024-05-11 . ^ (#cite_ref-29) "The Metropolitan Museum of Art Releases New Details About The Costume Institute's Spring 2024 Exhibition - The Metropolitan Museum of Art" (https://www.metmuseum.org/press/exhibitions/2024/sleeping-beauties_advanced-details) . www.metmuseum.org . Retrieved 2024-05-07 . ^ (#cite_ref-30) Berlinger, Max (2024-05-07). "Met exhibition review: 2024's spring show is a feast for the senses" (https://www.theguardian.com/fashion/article/2024/may/07/met-2024-spring-exhibition-review-sleeping-beauties-reawakening-fashion) . The Guardian . ISSN (/wiki/ISSN_(identifier)) 0261-3077 (https://www.worldcat.org/issn/0261-3077) . Retrieved 2024-05-11 . ^ (#cite_ref-31) "Sleeping Beauties: Reawakening Fashion – Review of The Met's spring exhibition" (https://www.independent.co.uk/life-style/met-gala-sleeping-beauties-review-b2543207.html) . The Independent . 2024-05-10 . Retrieved 2024-05-11 . ^ (#cite_ref-32) Tashjian, Rachel (2024-05-11). "Perspective \| 'Sleeping Beauties' fails to wake its dead" (https://www.washingtonpost.com/style/fashion/2024/05/10/costume-institute-met-sleeping-beauties/) . Washington Post . ISSN (/wiki/ISSN_(identifier)) 0190-8286 (https://www.worldcat.org/issn/0190-8286) . Retrieved 2024-05-11 . ^ (#cite_ref-33) Friedman, Vanessa; Farago, Jason (2024-05-09). "At the Met, Sleeping Beauty Wakes Up in the Chemistry Lab" (https://www.nytimes.com/2024/05/09/arts/design/fashion-met-gala-costume-institute-review.html) . The New York Times . ISSN (/wiki/ISSN_(identifier)) 0362-4331 (https://www.worldcat.org/issn/0362-4331) . Retrieved 2024-05-11 . External links [ edit ] Wikimedia Commons has media related to Sleeping Beauties: Reawakening Fashion (https://commons.wikimedia.org/wiki/Category:Sleeping_Beauties:_Reawakening_Fashion) . Sleeping Beauties: Reawakening Fashion (https://www.metmuseum.org/exhibitions/sleeping-beauties-reawakening-fashion) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐nfxtd Cached time: 20240720190151 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.379 seconds Real time usage: 0.478 seconds Preprocessor visited node count: 1702/1000000 Post‐expand include size: 63934/2097152 bytes Template argument size: 902/2097152 bytes Highest expansion depth: 14/100 Expensive parser function count: 1/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 124443/5000000 bytes Lua time usage: 0.240/10.000 seconds Lua memory usage: 5060794/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 411.000 1 -total 62.03% 254.949 1 Template:Reflist 46.73% 192.067 27 Template:Cite_web 22.20% 91.252 1 Template:Short_description 14.51% 59.631 2 Template:Pagetype 10.77% 44.284 1 Template:Commonscat 9.97% 40.976 1 Template:Sister_project 9.57% 39.325 1 Template:Side_box 7.24% 29.774 6 Template:Cite_news 5.11% 21.013 2 Template:If_then_show Saved in parser cache with key enwiki:pcache:idhash:76109525-0!canonical and timestamp 20240720190151 and revision id 1233342374. 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British fashion label Workers for Freedom Industry Fashion Founded 1985 Founder Graham Fraser and Richard Nott Headquarters London , England Workers for Freedom was a British fashion label that was launched in 1985 by Graham Fraser and Richard Nott. The brand was awarded Designer of the Year in 1989 at the British Fashion Awards (/wiki/British_Fashion_Awards) . [1] (#cite_note-NYT_Morris-1) The brand look was described by the LA Times (/wiki/Los_Angeles_Times) as: "rich-hippie intellectual clothes". [2] (#cite_note-LA_Times_McColl-2) The Glasgow Herald (/wiki/The_Glasgow_Herald) , on the other hand, summarised it as: "a stylishness based on subtlety and fine construction which stands remote from fashion's general glitzkrieg and the obstructive shoulder pad". [3] (#cite_note-Glasgow_Herald_Simpson-3) Workers for Freedom's design signatures included flowing shapes and ethnic-inspired details. It was particularly known for appliqué (/wiki/Appliqu%C3%A9) (widely copied on the high street) and intricate tie fastenings on garments such as shirts. Initially, its range was aimed at men but it soon expanded to womenswear. [4] (#cite_note-The_Times_63706-4) Some of its strongest early sales were with buyers from the United States, Italy and Japan – it had over 30 overseas clients by 1987. [3] (#cite_note-Glasgow_Herald_Simpson-3) [4] (#cite_note-The_Times_63706-4) In the wake of its British Designer of the Year award, The Guardian (/wiki/The_Guardian) noted that the label had: "built a reputation for wearable, beautifully made clothes always incorporating something surprising". [5] (#cite_note-The_Guardian_Rumbold-5) Establishment of the label [ edit ] Graham Fraser and Richard Nott founded Workers for Freedom in 1985; the name sounded radical but they said it was chosen because they hoped it would give them the freedom to work for themselves. [6] (#cite_note-Chicago_Tribune_Anderson-6) Describing the inspiration for the name in 1987, Fraser said it was about: "artistic and financial freedom to develop without the restraints imposed by big business". [3] (#cite_note-Glasgow_Herald_Simpson-3) The duo were in their 30s when they established the brand, and with substantial fashion industry experience. Richard Nott had been a fashion lecturer at Kingston Polytechnic (/wiki/Kingston_University) , before which he worked for Valentino (/wiki/Valentino_(fashion_designer)) in Italy. Graham Fraser, meanwhile, had worked for a variety of fashion retailers, including the boutique Feathers, culminating in a merchandising role at Liberty (/wiki/Liberty_(department_store)) where he was handling a budget of £10m. [3] (#cite_note-Glasgow_Herald_Simpson-3) Both had, at one time, worked with the leading 1970s designer Christopher McDonnell (/wiki/Christopher_McDonnell) – Fraser was in a business partnership with him at Marrian-McDonnell for a short period while Nott spent a nine-month spell as assistant. [7] (#cite_note-Guardian_Modlinger_130373-7) [8] (#cite_note-The_Times_Glynn_58396-8) Indeed, The Times fashion editor Prudence Glynn (/wiki/Prudence_Glynn) tipped Nott for the top in 1972, describing him as: "an exceptionally promising new design talent" and noting that his graduation show had attracted considerable interest from Marc Bohan (/wiki/Marc_Bohan) at Dior (/wiki/Christian_Dior_S.A.) . [8] (#cite_note-The_Times_Glynn_58396-8) Fraser and Nott were partners in their private and professional lives; in a feature about successful fashion couples – also featuring the husband and wife behind Clements Ribeiro (/wiki/Clements_Ribeiro) – The Guardian said the pair had been a couple for a decade before finally deciding to work together on their own brand. [9] (#cite_note-The_Guardian_Storey-9) A 1990 profile, by which time Fraser was 41 and Nott 42, gave a bit more detail about their industry experience. Fraser had trained as an accountant and worked at both high-end and mass market retailers – with stints as a buyer for Harrods (/wiki/Harrods) and Wallis (/wiki/Wallis_(retailer)) – before joining Liberty. Nott had trained at Kingston Polytechnic before working in Italy and then moving into academia back at Kingston. [4] (#cite_note-The_Times_63706-4) A loan of £15,000 from a bank had enabled them to set up a small company – initially producing men's shirts and sweaters – before the label expanded into womenswear. [4] (#cite_note-The_Times_63706-4) They also had a private financial backer and the label was founded with hands-on assistance from ex- Calvin Klein (/wiki/Calvin_Klein) staffer Sarah Mayhew-Coomber and her husband Stephen. [10] (#cite_note-The_Guardian_SJ_Hoare-10) The brand's store was at 4/4a Lower John Street, Soho (/wiki/Soho) . [11] (#cite_note-The_Times_62658.-11) It comprised just 280sq ft of selling space. [12] (#cite_note-The_Times_62694.-12) Their first catwalk show took place in March 1987. [12] (#cite_note-The_Times_62694.-12) Early design hallmarks [ edit ] Early ranges that came to the attention of the national press included tasselled waistcoats, peasant-style skirts, chunky jumpers and cardigans and fringed woollen shawls worn with deep-crowned felt hats. [13] (#cite_note-The_Times_62338-13) Describing their global inspirations, The Times wrote: "They started with middle-European cowboys, travelled through Mediterranean ports and Bavarian hunting lodges and are about to wade through a Mississippi swamp. This may sound like an excerpt from an Indiana Jones movie but is, in fact, a run through the themes Workers for Freedom, the London designers, have used for their collections and shop decor since they opened in October 1985. [12] (#cite_note-The_Times_62694.-12) Noting that the label's biggest seller in autumn/winter 1986 was a double-layer chiffon skirt and the current season's reprise of this concept was a shirtwaister (/wiki/Shirtdress) in chiffon and lace, the article said that the label had proved that: "young fashion need not be outrageous, unflattering or unaffordable". It also said that Fraser and Nott had, thus far, avoided PR launches and other attention-grabbing tactics only to find themselves at the centre of media interest. [12] (#cite_note-The_Times_62694.-12) International expansion [ edit ] The excitement surrounding the brand was international. By 1987, Workers for Freedom was opening a store within Bergdorf Goodman (/wiki/Bergdorf_Goodman) in New York, set to feature a mural of the Mississippi (/wiki/Mississippi_River) on the walls and with an opening party to be attended by Cher (/wiki/Cher) and Tatum O'Neal (/wiki/Tatum_O%27Neal) . [14] (#cite_note-The_Times_62664.-14) At this stage, the brand was stocked in Browns (/wiki/Browns_(fashion_boutique)) in London, a designer store in Beauchamp Place (/wiki/Beauchamp_Place) and Glasgow (/wiki/Glasgow) boutique Ichi ni San, with over 30 overseas accounts mainly in Japan, Italy and the US. [3] (#cite_note-Glasgow_Herald_Simpson-3) The following year, Workers for Freedom featured at Harrods as part of a promotion of British design for London Fashion Week, alongside names such as John Galliano (/wiki/John_Galliano) , Jasper Conran (/wiki/Jasper_Conran) and Paul Costelloe (/wiki/Paul_Costelloe) . [15] (#cite_note-The_Times_63027-15) By 1988, it was reported that Workers for Freedom's garments were being made in Japan. [16] (#cite_note-The_Times_63207-16) By 1989, the company had a lower-priced diffusion range called White that featured some of its higher-end best-sellers. [17] (#cite_note-The_Times_63341-17) Designer of the Year Award [ edit ] The Times tipped three names for the Designer of the Year Award less than a month ahead of the British Fashion Awards – Workers for Freedom, the previous year's winner Rifat Ozbek (/wiki/Rifat_Ozbek) and rising star Joe Casely-Hayford (/wiki/Joe_Casely-Hayford) . [18] (#cite_note-The_Times_63509.-18) Workers for Freedom picked up the prize, which was presented by Princess Diana (/wiki/Diana,_Princess_of_Wales) , Summarising the brand's appeal, The Times said it had: "romantic folkloric style that remains in essence very British". [19] (#cite_note-The_Times_63528.-19) In the succeeding fashion season, Workers for Freedom experienced an upturn in orders and interest, with Graham Nott saying: "You gain a little bit of confidence". [20] (#cite_note-The_Times_63650-20) Workers for Freedom's spring 1990 showing featured more styles in this feminine vein, including: "flounced skirts, ribbon-trimmed jackets and shirts in suede as well as wool". However, there were fewer buyers in London due to retailing problems worldwide. Katharine Hamnett (/wiki/Katharine_Hamnett) and John Galliano had chosen to show in Paris, while Rifat Ozbek screened a video rather than a holding a full catwalk show. [21] (#cite_note-The_Times_63652.-21) Later years [ edit ] In 1990, Fraser and Nott signed a marketing agreement with Marco Rivetti's Gruppo Finanziario Tessile (GFT), the Italian company that had promoted names such as Armani (/wiki/Giorgio_Armani) , Montana (/wiki/Claude_Montana) , Ungaro (/wiki/Emanuel_Ungaro) and Valentino to international audiences during the 1970s. Under the terms of the deal, Workers for Freedom would be promoted across North America by GFT. [4] (#cite_note-The_Times_63706-4) [22] (#cite_note-NYT_Saxon-22) It was also reported that Workers for Freedom had produced another 10 tiger-print silk shirts for Paul McCartney (/wiki/Paul_McCartney) 's world tour (to add to the 40 or 50 in his collection) and it had some copyright cases to pursue, with The Times noting that: "The pirating of Worker's [sic] stylish appliquė shirts has become an industry sport". [4] (#cite_note-The_Times_63706-4) By this stage, the company's clients included Diana Ross (/wiki/Diana_Ross) , Duran Duran (/wiki/Duran_Duran) and Vanessa Redgrave (/wiki/Vanessa_Redgrave) . Doris Saatchi (/wiki/Charles_Saatchi) , it was reported, ordered their silk robes in multiples. [4] (#cite_note-The_Times_63706-4) Fraser and Nott ended their Designer of the Year reign with a fashion show at Dayton Hudson (/wiki/Dayton%27s) in Minneapolis (/wiki/Minneapolis) , where they showed alongside Yohji Yamamoto (/wiki/Yohji_Yamamoto) , Jean-Paul Gaultier (/wiki/Jean-Paul_Gaultier) and Geoffrey Beene (/wiki/Geoffrey_Beene) . [23] (#cite_note-The_Times_63836.-23) Fashion editor Liz Smith said the brand's signatures such as embroidery and appliqué were what attracted American store buyers, adding: "Here are two designers who ignore the trend towards high hemlines and go on doing their own thing". [24] (#cite_note-The_Times_63838.-24) In 1991, it was reported that continued financial pressure – worldwide recession, poor exchange rates and the Gulf War (/wiki/Gulf_War) – had cut the budget of many high-spending foreign buyers who traditionally headed for London Fashion Week and Workers for Freedom, Jasper Conran and Bruce Oldfield (/wiki/Bruce_Oldfield) were among those who chose not to stage a traditional catwalk show that spring – the official line to the press being that this was a curb on "unnecessary hype", rather than an economy. [25] (#cite_note-The_Times_63963-25) In 1994, Fraser and Nott took a break from the business, returning to designing two years later after securing a new backer. [26] (#cite_note-Independent_Blanchard-26) In 1998, Fraser and Nott sold Workers for Freedom, taking on the tenancy of the National Trust (/wiki/National_Trust) property Stoneacre (/wiki/Stoneacre,_Kent) in Kent. Fraser had begun a garden design course and Nott was focusing on his painting. [27] (#cite_note-The_Times_68070-27) Legacy [ edit ] Workers for Freedom clothes are in several archives, including the Metropolitan Museum of Art (/wiki/Metropolitan_Museum_of_Art) and the Victoria and Albert Museum (/wiki/Victoria_and_Albert_Museum) . In 2013, Workers for Freedom – along with BodyMap (/wiki/BodyMap) , Katharine Hamnett and Betty Jackson (/wiki/Betty_Jackson) – featured in the V&A's From Club to Catwalk exhibition, which charted the influence of street styles on British high fashion. [28] (#cite_note-BBC_Dowd-28) References [ edit ] ^ (#cite_ref-NYT_Morris_1-0) Morris, Bernadine (12 March 1990). "Qurky Britain in Fashion's Sea" (https://www.nytimes.com/1990/03/13/style/quirky-britain-in-fashion-s-sea.html) . The New York Times . Retrieved 13 June 2015 . ^ (#cite_ref-LA_Times_McColl_2-0) McColl, Pat (14 March 1990). "Weekend Surprises : Fashion: Short was the watchword at the London shows" (http://articles.latimes.com/1990-03-14/news/vw-357_1_london-fashion-week) . Los Angeles Times . Retrieved 13 June 2015 . ^ Jump up to: a b c d e Simpson, Anne (14 May 1987). "The Freedom of Choice" (https://news.google.com/newspapers?nid=2507&dat=19870514&id=4yo1AAAAIBAJ&sjid=u6ULAAAAIBAJ&pg=3599,3482946&hl=en) . The Glasgow Herald . Retrieved 13 June 2015 . ^ Jump up to: a b c d e f g Smith, Liz (15 May 1990). "Stylish revelations take on a global application". The Times . No. 63706. p. 19. ^ (#cite_ref-The_Guardian_Rumbold_5-0) Rumbold, Judy (19 October 1989). "Up the Workers!". The Guardian . p. 38. ^ (#cite_ref-Chicago_Tribune_Anderson_6-0) Anderson, Lisa (18 October 1989). "Princess Diana Crowns British Gala a Success" (http://articles.chicagotribune.com/1989-10-18/news/8901230197_1_princess-diana-katharine-hamnett-rifat-ozbek) . Chicago Tribune . Retrieved 13 June 2015 . ^ (#cite_ref-Guardian_Modlinger_130373_7-0) Modlinger, Jackie (13 March 1973). "Label Fable". The Guardian . ^ Jump up to: a b Glynn, Prudence (8 February 1972). "Going Private". The Times . No. 58396. ^ (#cite_ref-The_Guardian_Storey_9-0) Storey, Helen (3 March 1997). "A perfect fit? London fashion week is over and the world knows it". The Guardian . p. A4. ^ (#cite_ref-The_Guardian_SJ_Hoare_10-0) Hoare, Sara-Jane (23 February 1986). "Leading Men". The Guardian . p. 53. ^ (#cite_ref-The_Times_62658._11-0) "Keeping on course at the sales". The Times . No. 62658. 6 January 1987. p. 11. ^ Jump up to: a b c d "Swamp fever takes a trip". The Times . No. 62694. 17 February 1987. p. 11. ^ (#cite_ref-The_Times_62338_13-0) Tyrrel, Rebecca (7 January 1986). "Hot tips for cold comfort". The Times . No. 62338. p. 13. ^ (#cite_ref-The_Times_62664._14-0) "People". The Times . No. 62664. 13 January 1987. p. 11. ^ (#cite_ref-The_Times_63027_15-0) "Galliano. Azagury. Ronay. Klein. Have British names every been more fashionable? (advert)". The Times . No. 63027. 15 March 1988. ^ (#cite_ref-The_Times_63207_16-0) Smith, Liz (8 October 1988). "Designer-wrapped for the world". The Times . No. 63207. ^ (#cite_ref-The_Times_63341_17-0) Smith, Liz (14 March 1989). "Don't worry, be positive". The Times . No. 63341. p. 18. ^ (#cite_ref-The_Times_63509._18-0) "Who will be top name?". The Times . No. 63509. 26 September 1989. p. 13. ^ (#cite_ref-The_Times_63528._19-0) Smith, Liz (18 October 1989). "Royal follower of fashion". The Times . No. 63528. ^ (#cite_ref-The_Times_63650_20-0) Smith, Liz (10 March 1990). "Nice work if you can find it". The Times . No. 63650. ^ (#cite_ref-The_Times_63652._21-0) Smith, Liz (13 March 1990). "Putting zip into this sporting life". The Times . No. 63652. ^ (#cite_ref-NYT_Saxon_22-0) Saxon, Wolfgang (19 July 1996). "Marco Rivetti, 52, Marketer of Italian Designer Labels" (https://www.nytimes.com/1996/07/19/world/marco-rivetti-52-marketer-of-italian-designer-labels.html) . The New York Times . Retrieved 14 June 2015 . ^ (#cite_ref-The_Times_63836._23-0) Smith, Liz (13 October 1990). "What a wonderful swirl". The Times . No. 63836. ^ (#cite_ref-The_Times_63838._24-0) Smith, Liz (16 October 1990). "Yes, that was the Sixties, that was". The Times . No. 63838. p. 19. ^ (#cite_ref-The_Times_63963_25-0) Smith, Liz (12 March 1991). "Polishing up the British act". The Times . No. 63963. p. 18. ^ (#cite_ref-Independent_Blanchard_26-0) Blanchard, Tamsin; Rickey, Melanie (23 February 1997). "London Fashion Week: A Capital A to Z" (https://www.independent.co.uk/life-style/fashion/news/london-fashion-we-ek-a-capital-a-to-z-1280322.html) . The Independent . Retrieved 13 June 2015 . ^ (#cite_ref-The_Times_68070_27-0) Gatti, Anne (8 May 2004). "Floral freedom". The Times . No. 68070. p. 37(s2). ^ (#cite_ref-BBC_Dowd_28-0) Dowd, Vincent (11 July 2013). "How '80s club culture came to the catwalk" (https://www.bbc.co.uk/news/entertainment-arts-23259509) . BBC . Retrieved 14 June 2015 . External links [ edit ] Graham Fraser and Richard Nott portrait by Trevor Leighton, National Portrait Gallery (http://www.npg.org.uk/collections/search/portrait/mw79887/Workers-for-Freedom-Graham-Fraser-Richard-Nott) Workers for Freedom dress at the Brooklyn Museum Costume Collection, Metropolitan Museum of Art (http://www.metmuseum.org/collection/the-collection-online/search/175401) Workers for Freedom men's shirt at the V&A archive (https://collections.vam.ac.uk/item/O1193046/shirt-workers-for-freedom/) Workers for Freedom waistcoat at the V&A archive (https://collections.vam.ac.uk/item/O360377/waistcoat-workers-for-freedom/) Workers for Freedom embroidered shirt (drawing) at the V&A archive (https://collections.vam.ac.uk/item/O202107/drawing-unknown/) Recollection of 1990 Workers for Freedom fashion show from The Women's Room (http://www.thewomensroomblog.com/2011/06/25/we-love-richard-notts-dresses/) NewPP limit report Parsed by mw‐api‐int.eqiad.main‐dc899b7cc‐k78fq Cached time: 20240721133323 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.436 seconds Real time usage: 0.705 seconds Preprocessor visited node count: 2465/1000000 Post‐expand include size: 39330/2097152 bytes Template argument size: 994/2097152 bytes Highest expansion depth: 12/100 Expensive parser function count: 3/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 101392/5000000 bytes Lua time usage: 0.278/10.000 seconds Lua memory usage: 6485044/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 667.810 1 -total 45.79% 305.778 1 Template:Reflist 41.58% 277.701 28 Template:Cite_news 30.52% 203.806 1 Template:Infobox_company 28.58% 190.830 1 Template:Infobox 17.17% 114.634 1 Template:Short_description 8.65% 57.739 7 Template:Main_other 8.18% 54.646 1 Template:SDcat 6.53% 43.580 2 Template:Pagetype 5.15% 34.420 1 Template:Comma_separated_entries Saved in parser cache with key enwiki:pcache:idhash:46978694-0!canonical and timestamp 20240721133323 and revision id 1225441697. 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Add tags to your draft Editor resources Find sources: Google (https://www.google.com/search?as_eq=wikipedia&q=%22AlTerra+Retail%2C+LLC%22) ( books (https://www.google.com/search?tbs=bks:1&q=%22AlTerra+Retail%2C+LLC%22+-wikipedia) · news (https://www.google.com/search?tbm=nws&q=%22AlTerra+Retail%2C+LLC%22+-wikipedia&tbs=ar:1) · scholar (https://scholar.google.com/scholar?q=%22AlTerra+Retail%2C+LLC%22) · free images (https://www.google.com/search?safe=off&tbs=sur:fmc&tbm=isch&q=%22AlTerra+Retail%2C+LLC%22+-site:wikipedia.org+-site:wikimedia.org) · WP refs (https://www.google.com/custom?hl=en&cx=007734830908295939403%3Agalkqgoksq0&cof=FORID%3A13%3BAH%3Aleft%3BCX%3AWikipedia%2520Reference%2520Search&q=%22AlTerra+Retail%2C+LLC%22) ) · FENS (https://en.wikipedia.org/wiki/Wikipedia:Free_English_newspaper_sources) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22AlTerra+Retail%2C+LLC%22&acc=on&wc=on) · TWL (https://wikipedialibrary.wmflabs.org/search/?q=%22AlTerra+Retail%2C+LLC%22) Easy tools : Citation bot (https://citations.toolforge.org/process_page.php?edit=automated_tools&slow=1&page=Draft:AlTerra_Retail,_LLC) ( help (/wiki/User:Citation_bot/use) ) \| Advanced: Fix bare URLs (https://tools.wmflabs.org/refill/result.php?page=Draft:AlTerra_Retail,_LLC&defaults=y) Declined by Theroadislong (https://en.wikipedia.org/wiki/User:Theroadislong) 4 months ago. Last edited by Spiderjiu (/wiki/User:Spiderjiu) 3 months ago. Reviewer: Inform author (https://en.wikipedia.org/w/index.php?title=User_talk:Designloud&action=edit&editintro=Template:AfC_submission/user_talk_editintro_declined&preload=Template:AfC_submission/user_talk_preload_declined&preloadtitle=Your+submission+at+%5B%5BWP%3AAfC%7CArticles+for+creation%5D%5D&section=new) . Resubmit Please note that if the issues are not fixed, the draft will be declined again. Submission declined on 26 February 2024 by KylieTastic (https://en.wikipedia.org/wiki/User:KylieTastic) ( talk (/wiki/User_talk:KylieTastic) ). This draft's references do not show that the subject qualifies for a Wikipedia article (/wiki/Wikipedia:Notability_(organizations_and_companies)) . In summary, the draft needs multiple published sources that are: in-depth (not just brief mentions about the subject or routine announcements) reliable secondary strictly independent of the subject Make sure you add references that meet all four of these criteria before resubmitting. Learn about mistakes to avoid (/wiki/Wikipedia:Common_sourcing_mistakes_(notability)) when addressing this issue. If no additional references exist, the subject is not suitable for Wikipedia. Declined by KylieTastic (https://en.wikipedia.org/wiki/User:KylieTastic) 4 months ago. Corporate Apparel Company AlTerra Retail, LLC., commonly known as AlTerra Retail, is an American eco-conscious online clothing retailer that specializes in sustainable children's clothing and recently expanded its product line to include sizes for adults. Founded in 2023 by Jacqueline Fernandez, AlTerra Retail emphasizes the use of natural materials and the preservation of the environment in its business practices. The company is headquartered in Wilmington, North Carolina, and operates its online store through Shopify. History [ edit ] AlTerra Retail was conceptualized in 2022 by Jacqueline Fernandez, a former healthcare professional with over two decades of experience. With a strong commitment to environmental preservation and sustainable practices, Fernandez aimed to incorporate these values into the foundation of AlTerra Retail. The company was officially incorporated on April 5, 2023, with the North Carolina Department of the Secretary of State. In September 2023, AlTerra Retail partnered with DesignLoud, a Wilmington-based website design and digital marketing agency, to enhance its online presence. The following month, the company announced the launch of its online store. By January 2024, AlTerra Retail expanded its product offerings to include sustainable clothing options for adults, marking a significant step towards catering to a broader demographic. As of February 2024, AlTerra Retail has diversified its product range to include a complete line of children's and adult clothing made from bamboo, certified as non-toxic. The company also offers towels and blankets crafted from Turkish Cotton on traditional Turkish looms, highlighting its commitment to sustainability and high-quality, natural materials. Corporate Identity [ edit ] AlTerra Retail positions itself as an eco-conscious brand dedicated to promoting environmental sustainability through its product offerings and business practices. The company's mission is to provide sustainable clothing options for families, thereby contributing to the global effort to preserve the environment. Products [ edit ] AlTerra Retail's product line includes: Children's clothing made from natural materials Adult clothing including sizes for moms and dads, focusing on sustainable and non-toxic materials Towels and blankets handmade from Turkish Cotton, produced on traditional Turkish looms External Links [ edit ] Official Website: AlTerra Retail (https://alterraretail.com/) References [ edit ] North Carolina Department of the Secretary of State. " Business Registration for AlTerra Retail, LLC. (https://www.sosnc.gov/online_services/search/Business_Registration_Results) " AlTerra Retail. " Online Store Launch Press Release. (https://www.sosnc.gov/online_services/search/Business_Registration_Results) " AlTerra Retail. " Product Line Expansion Announcement. 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Dummies and mannequins (/wiki/Mannequin) , articulated dolls (/wiki/Doll) used by artists, tailors, dressmakers, window-dressers and others especially to display or fit clothing (/wiki/Clothing) and show off different fabrics and textiles. Wikimedia Commons has media related to Dummies (https://commons.wikimedia.org/wiki/Category:Dummies) . NewPP limit report Parsed by mw‐web.eqiad.main‐57d74c944b‐b8jpd Cached time: 20240720170953 Cache expiry: 2592000 Reduced expiry: false Complications: [] CPU time usage: 0.058 seconds Real time usage: 0.087 seconds Preprocessor visited node count: 142/1000000 Post‐expand include size: 2457/2097152 bytes Template argument size: 238/2097152 bytes Highest expansion depth: 14/100 Expensive parser function count: 0/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 1202/5000000 bytes Lua time usage: 0.032/10.000 seconds Lua memory usage: 1003932/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 75.070 1 Template:Commons_category 100.00% 75.070 1 -total 97.03% 72.841 1 Template:Sister_project 94.44% 70.899 1 Template:Side_box 45.79% 34.377 2 Template:If_then_show Saved in parser cache with key enwiki:pcache:idhash:24336199-0!canonical and timestamp 20240720170953 and revision id 1054146889. Rendering was triggered because: page-view Subcategories This category has the following 4 subcategories, out of 4 total. F Fashion dolls (/wiki/Category:Fashion_dolls) ‎ (6 C, 65 P) Fictional dolls and dummies (/wiki/Category:Fictional_dolls_and_dummies) ‎ (4 C, 28 P) Films about mannequins (/wiki/Category:Films_about_mannequins) ‎ (44 P) S Sex dolls (/wiki/Category:Sex_dolls) ‎ (1 C, 4 P) Pages in category "Dummies and mannequins" The following 14 pages are in this category, out of 14 total. This list may not reflect recent changes (/wiki/Wikipedia:FAQ/Categorization#Why_might_a_category_list_not_be_up_to_date?) . Mannequin (/wiki/Mannequin) C Crash test dummy (/wiki/Crash_test_dummy) Cynthia (Gaba girl) (/wiki/Cynthia_(Gaba_girl)) E The Ex (target) (/wiki/The_Ex_(target)) H Harvey mannequin (/wiki/Harvey_mannequin) I Illuminated mannequin (/wiki/Illuminated_mannequin) Ivan Ivanovich (Vostok programme) (/wiki/Ivan_Ivanovich_(Vostok_programme)) L List of works featuring killer toys (/wiki/List_of_works_featuring_killer_toys) N Ned Nefer and Teagan (/wiki/Ned_Nefer_and_Teagan) P Ralph Pucci (/wiki/Ralph_Pucci) R Resusci Anne (/wiki/Resusci_Anne) S Straw man (dummy) (/wiki/Straw_man_(dummy)) T Transparent Anatomical Manikin (/wiki/Transparent_Anatomical_Manikin) V Ventriloquist's dummy (/wiki/Ventriloquist%27s_dummy) esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Category:Dummies_and_mannequins&oldid=1054146889 (https://en.wikipedia.org/w/index.php?title=Category:Dummies_and_mannequins&oldid=1054146889) " Categories (/wiki/Help:Category) : Anthropomorphism (/wiki/Category:Anthropomorphism) Dolls (/wiki/Category:Dolls) Scale modeling (/wiki/Category:Scale_modeling) Visual arts materials (/wiki/Category:Visual_arts_materials) Hidden category: Commons category link from Wikidata (/wiki/Category:Commons_category_link_from_Wikidata)
British Fashion Council London Fashion Week (/wiki/London_Fashion_Week) is organised by British Fashion Council Formation 6 January 1983 ; 41 years ago ( 1983-01-06 ) Purpose Promote British fashion in the UK and internationally Headquarters 33 Broadwick St, London W1F 0DQ Leader Caroline Rush Website British Fashion Council (http://www.britishfashioncouncil.co.uk/) Manish Arora designs at London Fashion Week 2007 Gareth Pugh fashion at London Fashion Week 2006 The British Fashion Council (BFC) is a non-profit organization that aims to enable sustainable growth (/wiki/Sustainable_growth) of British fashion in the global fashion economy. [1] (#cite_note-1) Founded in 1983, the BFC organizes biannual womenswear and menswear showcases, London Fashion Week (LFW) and London Fashion Week Men's (LFWM) to promote "the best of British design" to an international audience. Leadership and activities [ edit ] Based in London, the British Fashion Council (BFC) is currently chaired by David Pemsel. Pemsel was appointed in September 2022, succeeding Stephanie Phair who held the position for four and a half years from May 2018. [2] (#cite_note-2) [3] (#cite_note-3) Since 2009, Caroline Rush CBE has been the organization's chief executive officer. [4] (#cite_note-4) Previous Chairs of the BFC have included Natalie Massenet, Edward Rayne, Nicholas Coleridge CBE, Harold Tillman, and Sir Stuart Rose. [5] (#cite_note-5) In May 2018, BFC appointed former England football team captain, David Beckham, as its new Ambassadorial President. [6] (#cite_note-6) 2020 saw a number of organizational changes within the BFC, including four new appointments to its board of directors on 4 September. [7] (#cite_note-7) The newly appointed directors; Jamie Gill, June Sarpong (/wiki/June_Sarpong) , Scott Morrison and Sian Westerman (/wiki/Sian_Westerman) joined the remaining board membership of Stephanie Phair (/wiki/Stephanie_Phair) (chairperson), Dylan Jones, Caroline Rush (/wiki/Caroline_Rush) , Laura Strain, and David Pemsel. [8] (#cite_note-8) The Council created a new committee entitled the Diversity and Inclusion Steering Committee on 16 September 2020. [9] (#cite_note-9) [10] (#cite_note-10) In November 2020, the BFC presented Indian actress Priyanka Chopra Jonas (/wiki/Priyanka_Chopra) with the new title of ambassador for Positive Change. [11] (#cite_note-11) The new BFC role was created with the aim to use fashion as a ‘source for good’, to raise awareness of best practices within the industry including affirming principles that support inclusivity and positive ethics. [12] (#cite_note-12) Joining other technology companies and fashion brands, Rakuten (/wiki/Rakuten) added its name to the list of BFC Patrons in 2021. [13] (#cite_note-13) Development of the organization [ edit ] LFW Carousel The British Fashion Council (BFC) was established in 1983 as a non-profit limited company. [14] (#cite_note-Dictionary_of_Fashion_Sterlacci-14) Prior to the establishment of a single body to promote the interests of the British fashion industry, there were a number of organizations that existed to promote different interests within British fashion. These included: Incorporated Society of London Fashion Designers (/wiki/Incorporated_Society_of_London_Fashion_Designers) (founded 1941/2) [15] (#cite_note-How_Fashion_Works_Waddell-15) London Model House Group (1950) [16] (#cite_note-Dictionary_of_Fashion_Sterlacci_2-16) Fashion House Group of London (1958) [17] (#cite_note-Style_City-17) Clothing Export Council (1965) [17] (#cite_note-Style_City-17) London Designer Collections (1965) [17] (#cite_note-Style_City-17) Fashion Industry Action Group (1981) [18] (#cite_note-Flur-18) Events [ edit ] The BFC's primary event is London Fashion Week (/wiki/London_Fashion_Week) , a bi-annual London-based fashion show held routinely each February and September. The trade show typically showcases the work of over 250 international designers and engages a worldwide audience. The fashion week is organized by the BFC alongside other organizations. [19] (#cite_note-19) In light of the COVID-19 pandemic (/wiki/COVID-19_pandemic) , the BFC announced that its 2020 February trade show would be held as a digital-only event. All event attractions, from the launch of the week on Friday 14 February 2020, were presented to a global audience online. [20] (#cite_note-20) [21] (#cite_note-21) The event production crews, designers, models, and teams were assisted by Westminster Council with rapid Covid testing to ensure the success and safety of the event. [22] (#cite_note-22) Princess Anne (/wiki/Anne,_Princess_Royal) followed in the Queen’s footsteps to present a special award at the event. [23] (#cite_note-23) The Queen Elizabeth II Award for British Design was awarded to Rosh Mahtani who was commended for the craftsmanship of her jewellery. [24] (#cite_note-24) During the February 2020 Fashion Week, the BFC announced its scheme to enable one young designer to show their collection before a virtual audience. The new initiative was made possible in collaboration with MTV (/wiki/MTV) . [25] (#cite_note-25) Following its February virtual showcase event, [26] (#cite_note-26) the BFC announced that it was to merge the Men’s Fashion Week into a new and single, "gender-neutral" event. [27] (#cite_note-27) [28] (#cite_note-28) Coronavirus Foundation Fashion Fund [ edit ] In response to the global pandemic restrictions and its move to showcasing fashion virtually, the BFC began to advocate increased support for fashion freelancers experiencing hardship and business disruption. The British government were encouraged to put further policies in place to protect those being negatively affected. [29] (#cite_note-29) Later in March 2020, the council launched its first coronavirus relief fund, committed to supporting those in the industry. [30] (#cite_note-30) The crisis relief fund aims to raise £50 million for struggling designers. [31] (#cite_note-31) In May 2020, the Foundation Fashion Fund announced its first recipients of the £1,000,000 emergency fund. The fund was split between 37 different UK recipients. [32] (#cite_note-32) The Black in Fashion Council [ edit ] In response to the global reaction to the George Floyd (/wiki/George_Floyd) tragedy and the Black Lives Matter (/wiki/Black_Lives_Matter) protests, the British Fashion Council chief called upon the industry to take further action against racism. [33] (#cite_note-33) The fashion industry was called to account for its longstanding cultural appropriation and lack of diversity, which led to a partnership of 38 organizations generating the Black in Fashion Council, including the British Fashion Council. [34] (#cite_note-34) [35] (#cite_note-35) As part of its individual response to the Black Lives Matter movement, the British Fashion Council launched its own project celebrating Black British culture and fashion. The project included a variety of programmed events, concluding with an exhibition showcasing the work in the summer of 2022. [36] (#cite_note-36) Awards, nominations and prizes [ edit ] 16 November 2016 – The British Fashion council awarded Gucci (/wiki/Gucci) ’s New Creative Director, Alessandro Michele (/wiki/Alessandro_Michele) , the International Designer Award. [37] (#cite_note-37) 2 September 2020 – As part of its £500,000 grant scheme, the British Fashion Council distributed grants to 30 British labels, including Emilia Wickstead (/wiki/Emilia_Wickstead) , Preen by Thornton Bregazzi, Rokh and Charles Jeffrey Loverboy. [38] (#cite_note-38) 5 October 2020 – The University of Salford (/wiki/University_of_Salford) and the Central Saint Martins (/wiki/Central_Saint_Martins) Royal College of Art has announced recipients of the British Fashion Council MA Scholarship. The recipients of the scholarships were selected from these institutions based on financial need and aptitude. [39] (#cite_note-39) 15 October 2020 – The British Fashion Council announced 2020 Fashion Awards (/wiki/The_Fashion_Awards) would be held as a virtual event (/wiki/Virtual_event) on 3 December. As part of the ceremony, 20 winners were celebrated for their resilience during the pandemic, and their determination to see change within the industry. [40] (#cite_note-40) Awards for Community were presented by Priyanka Chopra Jonas (/wiki/Priyanka_Chopra_Jonas) , awards for People presented by Lewis Hamilton (/wiki/Lewis_Hamilton) , awards for Environment presented by Aja Barber and Maisie Williams (/wiki/Maisie_Williams) , and awards for Creativity were presented by Rosalía (/wiki/Rosal%C3%ADa) . [41] (#cite_note-41) 18 February 2021 – The BFC announced the shortlist of designers in line for receiving the prestigious BFC/ Vogue (/wiki/Vogue_(magazine)) Designer Fashion Fund. [42] (#cite_note-42) [43] (#cite_note-43) From the shortlisted 11, Bethany Williams was named as the winner. [44] (#cite_note-44) 16 February 2022 – A shortlist of 8 designers was announced for the 2022 BFC/Vogue Designer Fashion Fund. [45] (#cite_note-45) The 2022 winner was Richard Quinn. [46] (#cite_note-46) See also [ edit ] Arab Fashion Council (/wiki/Arab_Fashion_Council) Council of Fashion Designers of America (/wiki/Council_of_Fashion_Designers_of_America) Fédération française de la couture (/wiki/F%C3%A9d%C3%A9ration_fran%C3%A7aise_de_la_couture) National Chamber of Italian Fashion (/wiki/National_Chamber_of_Italian_Fashion) References [ edit ] ^ (#cite_ref-1) "British Fashion Council - About" (https://www.britishfashioncouncil.co.uk/About) . www.britishfashioncouncil.co.uk . Retrieved 4 January 2023 . ^ (#cite_ref-2) Zhang, Tianwei (22 September 2022). "British Fashion Council Welcomes David Pemsel as New Chair" (https://wwd.com/business-news/human-resources/david-pemsel-chair-british-fashion-council-1235343179/) . WWD . Retrieved 4 January 2023 . ^ (#cite_ref-3) "British Fashion Council" (https://www.britishfashioncouncil.co.uk/pressreleases/BFC-Announce-Stephanie-Phair-as-New-Chair) . www.britishfashioncouncil.co.uk . Retrieved 4 January 2023 . ^ (#cite_ref-4) "Caroline Rush CBE" (https://www.britishfashioncouncil.co.uk/BFC-Contact-profile/Caroline-Rush-) . British Fashion Council . Retrieved 14 January 2022 . ^ (#cite_ref-5) "British Fashion Council" (https://www.britishfashioncouncil.co.uk/news_detail.aspx?id=452) . www.britishfashioncouncil.co.uk . Retrieved 4 January 2023 . ^ (#cite_ref-6) "British Fashion Council" (https://www.britishfashioncouncil.co.uk/pressreleases/BFC-Appoints-David-Beckham-as-Ambassadorial-President#:~:text=The%20British%20Fashion%20Council%20(BFC,the%20United%20States%20and%20Asia.) . www.britishfashioncouncil.co.uk . Retrieved 4 January 2023 . ^ (#cite_ref-7) Edmonds, Lizzie (17 September 2020). "British Fashion Council board member sets out diversity designs" (https://www.standard.co.uk/insider/fashion/roksanda-illincic-london-fashion-week-diversity-a4549656.html) . www.standard.co.uk . Retrieved 16 June 2021 . ^ (#cite_ref-8) Wightman-Stone, Danielle (14 September 2020). "BFC announces executive board appointments" (https://fashionunited.uk/news/people/bfc-announces-executive-board-appointments/2020091450864) . FashionUnited . Retrieved 17 June 2021 . ^ (#cite_ref-9) May, Naomi (16 September 2020). "British Fashion Council launches diversity and inclusion committee" (https://www.standard.co.uk/insider/fashion/british-fashion-council-diversity-inclusion-a4548856.html) . www.standard.co.uk . Retrieved 23 June 2021 . ^ (#cite_ref-10) Wightman-Stone, Danielle (17 September 2020). "BFC announces Diversity and Inclusion Steering Committee" (https://fashionunited.uk/news/fashion/bfc-announces-diversity-and-inclusion-steering-committee/2020091750926) . FashionUnited . Retrieved 23 June 2021 . ^ (#cite_ref-11) Conti, Samantha (16 November 2020). "Priyanka Chopra Jonas Becomes British Fashion Council Ambassador" (https://wwd.com/fashion-news/fashion-features/priyanka-chopra-jonas-british-fashion-council-ambassador-1234657868/) . WWD . Retrieved 23 June 2021 . ^ (#cite_ref-12) Desk, iGlobal. "Priyanka Chopra Jonas to use fashion as a force for good in new British Fashion Council role" (https://www.iglobalnews.com/ientertainment/priyanka-chopra-jonas-to-use-fashion-as-force-for-good-in-new-british-fashion-council-role) . iGlobal News . Retrieved 23 June 2021 . ^ (#cite_ref-13) "Rakuten Becomes a British Fashion Council Patron" (https://global.rakuten.com/corp/news/update/2021/0219_01.html) . 19 February 2021. Archived (https://web.archive.org/web/20210219123919/https://global.rakuten.com/corp/news/update/2021/0219_01.html) from the original on 19 February 2021 . Retrieved 29 June 2021 . ^ (#cite_ref-Dictionary_of_Fashion_Sterlacci_14-0) Sterlacci Purvin, Francesca; Arbuckle, Joanne (2008). Historical Historical Dictionary of the Fashion Industry . Plymouth: Scarecrow Press. pp. 26, 75. ISBN (/wiki/ISBN_(identifier)) 9780810854543 . Retrieved 16 September 2014 . ^ (#cite_ref-How_Fashion_Works_Waddell_15-0) Waddell, Gavin (2004). How Fashion Works: Couture, Ready-to-Wear and Mass Production . Oxford: Blackwell Science. pp. 175–7. ISBN (/wiki/ISBN_(identifier)) 9780632057528 . Retrieved 9 August 2014 . ^ (#cite_ref-Dictionary_of_Fashion_Sterlacci_2_16-0) Sterlacci Purvin, Francesca; Arbuckle, Joanne (2008). Historical Historical Dictionary of the Fashion Industry . Plymouth: Scarecrow Press. pp. 26, 75. ISBN (/wiki/ISBN_(identifier)) 9780810854543 . Retrieved 16 September 2014 . ^ Jump up to: a b c O'Byrne, Robert; Worsley-Taylor, Annette (2009). Style City: How London Became a Fashion Capital . London: Frances Lincoln Ltd. ISBN (/wiki/ISBN_(identifier)) 9780711228955 . ^ (#cite_ref-Flur_18-0) "London Fashion Week" (https://web.archive.org/web/20140727220810/http://www.flurmagazine.com/en/designers/londonfashionweek.html#) . Flur Magazine. February 2013. Archived from the original (http://www.flurmagazine.com/en/designers/londonfashionweek.html) on 27 July 2014 . Retrieved 21 July 2014 . ^ (#cite_ref-19) "London Fashion Week" (https://fashionunited.uk/landing/london-fashion-week/) . fashionunited.uk . Retrieved 2 July 2021 . ^ (#cite_ref-20) Wightman-Stone, Danielle (13 January 2021). "London Fashion Week to go ahead with no live audiences" (https://fashionunited.uk/news/fashion/london-fashion-week-to-go-ahead-with-no-live-audiences/2021011352954) . FashionUnited . Retrieved 6 July 2021 . ^ (#cite_ref-21) Gumuchian, Hanna Rantala, Marie-Louise (19 February 2021). "Digital London Fashion Week kicks off" (https://www.reuters.com/article/us-fashion-london-idUSKBN2AJ1BF) . Reuters . Retrieved 6 July 2021 . {{ cite news (/wiki/Template:Cite_news) }} : CS1 maint: multiple names: authors list ( link (/wiki/Category:CS1_maint:_multiple_names:_authors_list) ) ^ (#cite_ref-22) "Testing support for London Fashion Week \| Westminster City Council" (https://www.westminster.gov.uk/news/testing-support-london-fashion-week) . www.westminster.gov.uk . Retrieved 6 July 2021 . ^ (#cite_ref-23) "Princess Anne makes debut at London Fashion Week - find out why" (https://www.hellomagazine.com/fashion/royal-style/2020021884983/princess-anne-attends-london-fashion-week/) . HELLO! . 18 February 2020 . Retrieved 2 July 2021 . ^ (#cite_ref-24) "Princess Anne closes London fashion week with royal award" (https://www.theguardian.com/fashion/2020/feb/18/princess-anne-closes-london-fashion-week-with-royal-award) . The Guardian . 18 February 2020 . Retrieved 2 July 2021 . ^ (#cite_ref-25) May, Naomi (17 February 2020). "BFC and MTV launch scheme to nurture fashion designers of the future" (https://www.standard.co.uk/insider/fashion/london-fashion-week/british-fashion-council-fashion-design-initiative-mtv-a4362946.html) . www.standard.co.uk . Retrieved 9 July 2021 . ^ (#cite_ref-26) "London Fashion Week went digital and, amazingly, it worked" (https://www.gq-magazine.co.uk/fashion/article/london-fashion-week-digital) . British GQ . 15 June 2020 . Retrieved 9 July 2021 . ^ (#cite_ref-27) Theodosi, Natalie (21 April 2020). "British Fashion Council Merges Men's, Women's Showcases" (https://wwd.com/fashion-news/fashion-scoops/british-fashion-council-merges-mens-womens-showcases-london-fashion-week-1203564572/) . WWD . Retrieved 9 July 2021 . ^ (#cite_ref-28) Jones, Dylan (15 May 2020). "Gender-neutral and digital: a new era for London Fashion Week" (https://www.standard.co.uk/comment/comment/london-fashion-week-gender-neutral-june-digital-dylan-jones-bfc-a4441781.html) . www.standard.co.uk . Retrieved 9 July 2021 . ^ (#cite_ref-29) Theodosi, Natalie (23 March 2020). "British Fashion Council Asks U.K. Government to Support Businesses Further" (https://wwd.com/fashion-news/fashion-features/british-fashion-council-asks-u-k-government-to-support-businesses-further-1203544673/) . WWD . Archived (https://web.archive.org/web/20200411142326/https://wwd.com/fashion-news/fashion-features/british-fashion-council-asks-u-k-government-to-support-businesses-further-1203544673/) from the original on 11 April 2020 . Retrieved 20 July 2021 . ^ (#cite_ref-30) Colón, Ana. "British Fashion Council Launches Relief Fund for Businesses Affected by the Coronavirus" (https://fashionista.com/2020/03/british-fashion-council-covid-19-crisis-relief-fund) . Fashionista . Retrieved 20 July 2021 . ^ (#cite_ref-31) "British Fashion Council Aims to Raise £50 Million For Struggling Designers" (https://www.businessoffashion.com/articles/entrepreneurship/british-fashion-council-foundation-fashion-fund-fundraising-coronavirus) . The Business of Fashion . 13 May 2020 . Retrieved 20 July 2021 . ^ (#cite_ref-32) "The BFC Reveals the First Recipients of the BFC Foundation Fund" (https://www.anothermag.com/fashion-beauty/12509/recipients-of-first-bfc-foundation-fund-alighieri-charles-jeffrey-craig-green) . AnOther . 13 May 2020. Archived (https://web.archive.org/web/20200521004701/https://www.anothermag.com/fashion-beauty/12509/recipients-of-first-bfc-foundation-fund-alighieri-charles-jeffrey-craig-green) from the original on 21 May 2020 . Retrieved 20 July 2021 . ^ (#cite_ref-33) Bryer, Tania (19 June 2020). "British Fashion Council chief calls on the industry to act on their comments against racism" (https://www.cnbc.com/2020/06/19/caroline-rush-british-fashion-council-calls-on-industry-to-act-against-racism.html) . CNBC . Retrieved 28 July 2021 . ^ (#cite_ref-34) "This Is How The Black In Fashion Council Intends To Hold Companies Accountable" (https://www.vogue.co.uk/fashion/article/black-in-fashion-equality-index) . British Vogue . 25 June 2020 . Retrieved 28 July 2021 . ^ (#cite_ref-35) "The Black In Fashion Council Launches With 38 Partners" (https://www.vogue.co.uk/news/article/black-in-fashion-council-launches) . British Vogue . 4 August 2020 . Retrieved 28 July 2021 . ^ (#cite_ref-36) Klerk, Amy de (28 October 2020). "The BFC is launching a new project that celebrates Black British fashion and culture" (https://www.harpersbazaar.com/uk/fashion/fashion-news/a34504985/bfc-missing-thread/) . Harper's BAZAAR . Retrieved 28 July 2021 . ^ (#cite_ref-37) "British Fashion Council to Award Gucci's New Creative Director" (http://www.catwalkyourself.com/fashion-news/british-fashion-council-award-guccis-new-creative-director/) . Retrieved 29 July 2021 . ^ (#cite_ref-38) Theodosi, Natalie (22 September 2020). "British Fashion Council Names New Set of Grant Recipients" (https://wwd.com/fashion-news/fashion-scoops/british-fashion-council-grant-recipients-1234595860/) . WWD . Archived (https://web.archive.org/web/20200923023630/https://wwd.com/fashion-news/fashion-scoops/british-fashion-council-grant-recipients-1234595860/) from the original on 23 September 2020 . Retrieved 29 July 2021 . ^ (#cite_ref-39) Zhang, Tianwei (5 October 2020). "The British Fashion Council Announces MA Scholarship Recipients" (https://wwd.com/fashion-news/fashion-scoops/the-british-fashion-council-announces-ma-scholarship-recipients-1234620446/) . WWD . Archived (https://web.archive.org/web/20201005120234/https://wwd.com/fashion-news/fashion-scoops/the-british-fashion-council-announces-ma-scholarship-recipients-1234620446/) from the original on 5 October 2020 . Retrieved 3 August 2021 . ^ (#cite_ref-40) Theodosi, Natalie (15 October 2020). "British Fashion Council Takes 2020 Fashion Awards Digital" (https://wwd.com/fashion-news/fashion-features/british-fashion-council-fashion-awards-2020-digital-1234634928/) . WWD . Archived (https://web.archive.org/web/20201028025952/https://wwd.com/fashion-news/fashion-features/british-fashion-council-fashion-awards-2020-digital-1234634928/) from the original on 28 October 2020 . Retrieved 3 August 2021 . ^ (#cite_ref-41) "British Fashion Council - The Fashion Awards 2020 Honourees Announced" (https://www.britishfashioncouncil.co.uk/bfcnews/4346/The-Fashion-Awards-2020-Honourees-Announced) . www.britishfashioncouncil.co.uk . Retrieved 4 January 2023 . ^ (#cite_ref-42) "British Fashion Council/Vogue Designer Fashion Fund 2021 Shortlist Announced" (https://executive-bulletin.com/fashion/british-fashion-council-vogue-designer-fashion-fund-2021-shortlist-announced) . Executive Bulletin . 18 February 2021 . Retrieved 3 August 2021 . ^ (#cite_ref-43) "British Fashion Council Names BFC/Vogue Fashion Fund Nominees" (https://www.msn.com/en-us/lifestyle/fashion/british-fashion-council-names-bfc-vogue-fashion-fund-nominees/ar-BB1dNatz) . www.msn.com . Retrieved 3 August 2021 . ^ (#cite_ref-44) "British Fashion Council" (https://www.britishfashioncouncil.co.uk/business-support-awards/BFCVogue-Designer-Fashion-Fund/Winner-2021) . www.britishfashioncouncil.co.uk . Retrieved 4 January 2023 . ^ (#cite_ref-45) "British Fashion Council - BFC/Vogue Designer Fashion Fund 2022 Shortlist Announced!" (https://www.britishfashioncouncil.co.uk/bfcnews/4621/BFCVogue-Designer-Fashion-Fund-2022-Shortlist-Announced) . www.britishfashioncouncil.co.uk . Retrieved 4 January 2023 . ^ (#cite_ref-46) "British Fashion Council" (https://www.britishfashioncouncil.co.uk/business-support-awards/BFCVogue-Designer-Fashion-Fund/Winner-2022) . www.britishfashioncouncil.co.uk . Retrieved 4 January 2023 . External links [ edit ] British Fashion Council Website (http://www.britishfashioncouncil.com/) BFC History (http://www.britishfashioncouncil.co.uk/content/1160/History) London Fashion Week Website (https://web.archive.org/web/19990422205206/http://www.londonfashionweek.co.uk/) Indymedia coverage (http://www.indymedia.org.uk/en/2010/01/445470.html) Authority control databases (/wiki/Help:Authority_control) International VIAF (https://viaf.org/viaf/132794500) National United States (https://id.loc.gov/authorities/nb2010028045) NewPP limit report Parsed by mw‐web.codfw.main‐ff98d5cb5‐t7btf Cached time: 20240722170754 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.548 seconds Real time usage: 0.641 seconds Preprocessor visited node count: 3261/1000000 Post‐expand include size: 91138/2097152 bytes Template argument size: 1222/2097152 bytes Highest expansion depth: 21/100 Expensive parser function count: 5/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 177453/5000000 bytes Lua time usage: 0.368/10.000 seconds Lua memory usage: 5149642/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 572.883 1 -total 55.11% 315.713 1 Template:Reflist 41.50% 237.727 40 Template:Cite_web 18.75% 107.428 1 Template:Authority_control 16.28% 93.240 1 Template:Infobox_organization 15.05% 86.195 1 Template:Infobox 5.07% 29.067 1 Template:Use_British_English 4.95% 28.360 4 Template:Cite_book 4.85% 27.779 4 Template:If_empty 3.59% 20.591 2 Template:Unbulleted_list Saved in parser cache with key enwiki:pcache:idhash:20061767-0!canonical and timestamp 20240722170754 and revision id 1190988317. 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Mechanical form shaped like a human foot For other uses, see Last (disambiguation) (/wiki/Last_(disambiguation)) . A pair of wooden lasts. Wooden lasts in a shoemaker's workshop in Hamburg (/wiki/Hamburg) , Germany (/wiki/Germany) A last is a mechanical form shaped like a human foot (/wiki/Human_foot) . It is used by shoemakers (/wiki/Shoemaking) and cordwainers (/wiki/Cordwainer) in the manufacture and repair of shoes (/wiki/Shoe) . Lasts come in many styles and sizes, depending on the exact job they are designed for. Common variations include simple one-size lasts used for repairing soles (/wiki/Sole_(shoe)) and heels (/wiki/Heel_(shoe)) , custom-purpose mechanized lasts used in modern mass production (/wiki/Mass_production) , and custom-made lasts used in the making of bespoke footwear (/wiki/Bespoke_footwear) . Lasts are made of firm materials— hardwoods (/wiki/Hardwood) , cast iron (/wiki/Cast_iron) , and high-density plastics—to withstand contact with wetted leather and the strong forces involved in reshaping it. Since the early 19th century, lasts typically come in pairs to match the separate shapes of the right and left feet. The development of an automated lasting machine by the Surinamese-American (/wiki/Surinamese-American) Jan Ernst Matzeliger (/wiki/Jan_Ernst_Matzeliger) in the 1880s was a major development in shoe production (/wiki/Shoe_production) , immediately improving quality, halving prices, and eliminating the previous putting-out systems (/wiki/Putting-out_system) surrounding shoemaking centers. Name [ edit ] The English (/wiki/English_language) word last is thought to derive from a Proto-Germanic (/wiki/Proto-Germanic) term reconstructed (/wiki/Linguistic_reconstruction) as * laistaz and intending a track, a trace, or a footprint. Cognates (/wiki/Cognates) include Swedish (/wiki/Swedish_language) läst , Danish (/wiki/Danish_language) læste , and German (/wiki/German_language) Leisten . [1] (#cite_note-FOOTNOTERinge2017[httpsbooksgooglecombooksid2DooDwAAQBAJdqlaistazlastpgPA284_284]-1) [2] (#cite_note-FOOTNOTEKurtz2014[httpsbooksgooglecombooksid8sdjAgAAQBAJdqlaistazlastpgPA1168_1168]-2) History [ edit ] Jan Ernst Matzeliger (/wiki/Jan_Ernst_Matzeliger) in 1885 Matzeliger's lasting machine, complex enough the patent office had to send an agent to Lynn (/wiki/Lynn,_Massachusetts) to see it in operation Although Roman (/wiki/Ancient_Roman_clothing) cordwainers (/wiki/Cordwainer) — bespoke (/wiki/Bespoke_shoe) shoemakers (/wiki/Shoemaking) —have been found to have shaped some footwear separately for the right and left foot, this distinction was mostly lost following the barbarian invasions (/wiki/Barbarian_invasions) in late Antiquity (/wiki/Late_Antiquity) . Upon the return of commercial shoemaking during the High Middle Ages (/wiki/High_Middle_Ages) , a single last was used to make shoes for either foot, with the expectation that use would gradually reshape the shoe as needed. The use of such "straights" was particularly important after the rise of both male and female heels (/wiki/High_heels) in the 17th century (/wiki/1600%E2%80%931650_in_Western_European_fashion) made shoemaking more complicated than previously. [3] (#cite_note-FOOTNOTESCM2010a-3) It was not until the beginning of industrial production and mass marketing (/wiki/Mass_marketing) in the early 19th century that lasts were again generally made and used in matching pairs. Generic one-size lasts are now only used for basic shoe repair. Well into the Industrial Revolution (/wiki/Industrial_Revolution) , shoe production was optimized by elaborate division of labor in putting-out systems (/wiki/Putting-out_system) arranged around central workshops but each step of production still required skilled labor. [4] (#cite_note-FOOTNOTEMulligan1981-4) Attempts at mechanization in Britain (/wiki/United_Kingdom_of_Great_Britain_and_Ireland) by Marc Isambard Brunel (/wiki/Marc_Isambard_Brunel) during the Napoleonic Wars (/wiki/Napoleonic_Wars) were partial and proved uneconomical after demobilization. [5] (#cite_note-FOOTNOTESCM2010b-5) Improvements to the sewing machine (/wiki/Sewing_machine) to suit it for work in leather took until 1850 [6] (#cite_note-FOOTNOTECutter_&_al.2021-6) and the major breakthrough was the Surinamese (/wiki/Suriname) immigrant (/wiki/Immigration_to_the_United_States) Jan Ernst Matzeliger (/wiki/Jan_Ernst_Matzeliger) 's automated lasting machine, patented (/wiki/US_patent_law) in 1883. This instantly centralized production, increased production by as much as 14 times, improved quality, and halved prices. [4] (#cite_note-FOOTNOTEMulligan1981-4) [7] (#cite_note-FOOTNOTEChamberlain2012-7) [8] (#cite_note-FOOTNOTELienhard2000-8) Design [ edit ] A last is a mechanical form shaped like a human foot (/wiki/Human_foot) . [9] (#cite_note-FOOTNOTE''Enc._Brit.'',_11th_ed.1911-9) Lasts come in many styles and sizes, depending on the exact job they are designed for. Common variations include simple uniform lasts for shoe repair (/wiki/Shoe_repair) , custom-purpose mechanized lasts for shoe factories (/w/index.php?title=Shoe_factories&action=edit&redlink=1) , and custom-made lasts for bespoke footwear (/wiki/Bespoke_footwear) . Though a last is typically made to approximate the shape of a human foot, the precise shape is tailored to the kind of footwear being made. For example, boot lasts typically hug the instep for a close fit. Modern last shapes are now usually designed with dedicated CAD software (/wiki/Computer-aided_design) . Lasts are typically made from hardwoods (/wiki/Hardwood) , cast iron (/wiki/Cast_iron) , and high-density plastics [10] (#cite_note-FOOTNOTELuximon_&_al.2013[httpsbooksgooglecombooksidT2VEAgAAQBAJpgPA177_177]-10) to maintain their shape even after prolonged use in contact with materials like wetted leather and under the mechanical stresses necessary to stretch and shape the material for shoes. Factory lasts must be able to hold the lasting tacks (/wiki/Nail_(fastener)) that position the parts of the shoe and then handle the force of the pullover machines used to bottom the shoe and add the sole. The usual material now is high-density polyethylene plastic (/wiki/High-density_polyethylene_plastic) (HMW-HDPE), which can be easily, cheaply, and precisely shaped; which withstand more damage from the tacks before requiring repair or replacement; and which can be recycled (/wiki/Recycling) once they finally do wear out entirely. Wooden lasts are now used only for repair work and bespoke shoemaking, particularly in Europe (/wiki/Europe) and North America (/wiki/North_America) . Custom lasts [ edit ] The personal lasts of Audrey Hepburn (/wiki/Audrey_Hepburn) and Ava Gardner (/wiki/Ava_Gardner) at the Ferragamo Museum (/wiki/Ferragamo_Museum) in Florence (/wiki/Florence) , Italy (/wiki/Italy) Cordwainers (/wiki/Cordwainer) often use lasts that are specifically designed to the proportions of individual customers' feet. Made from wood or from various modern materials, they don't need to withstand the pressures of mass production machinery, but they must be able to handle constant tacking and pinning and the wet environment associated with stretching and shaping materials such as leather. Gallery [ edit ] Lasts A pair of wooden lasts Tripartite metal last Replaceable metal last on stand Wooden lasts ( Marikina Shoe Museum (/wiki/Marikina_Shoe_Museum) ) See also [ edit ] Shoe size (/wiki/Shoe_size) References [ edit ] Citations [ edit ] ^ (#cite_ref-FOOTNOTERinge2017[httpsbooksgooglecombooksid2DooDwAAQBAJdqlaistazlastpgPA284_284]_1-0) Ringe (2017) (#CITEREFRinge2017) , p. 284 (https://books.google.com/books?id=2DooDwAAQBAJ&dq=laistaz+last&pg=PA284) . ^ (#cite_ref-FOOTNOTEKurtz2014[httpsbooksgooglecombooksid8sdjAgAAQBAJdqlaistazlastpgPA1168_1168]_2-0) Kurtz (2014) (#CITEREFKurtz2014) , p. 1168 (https://books.google.com/books?id=8sdjAgAAQBAJ&dq=laistaz+last&pg=PA1168) . ^ (#cite_ref-FOOTNOTESCM2010a_3-0) SCM (2010a) (#CITEREFSCM2010a) . ^ Jump up to: a b Mulligan (1981) (#CITEREFMulligan1981) . ^ (#cite_ref-FOOTNOTESCM2010b_5-0) SCM (2010b) (#CITEREFSCM2010b) . ^ (#cite_ref-FOOTNOTECutter_&_al.2021_6-0) Cutter & al. (2021) (#CITEREFCutter_&_al.2021) . ^ (#cite_ref-FOOTNOTEChamberlain2012_7-0) Chamberlain (2012) (#CITEREFChamberlain2012) . ^ (#cite_ref-FOOTNOTELienhard2000_8-0) Lienhard (2000) (#CITEREFLienhard2000) . ^ (#cite_ref-FOOTNOTE''Enc._Brit.'',_11th_ed.1911_9-0) Enc. Brit. , 11th ed. (1911) (#CITEREFEnc._Brit.,_11th_ed.1911) . ^ (#cite_ref-FOOTNOTELuximon_&_al.2013[httpsbooksgooglecombooksidT2VEAgAAQBAJpgPA177_177]_10-0) Luximon & al. (2013) (#CITEREFLuximon_&_al.2013) , p. 177 (https://books.google.com/books?id=T2VEAgAAQBAJ&pg=PA177) . Bibliography [ edit ] Chisholm, Hugh (/wiki/Hugh_Chisholm) , ed. (1911). " Last (https://en.wikisource.org/wiki/1911_Encyclop%C3%A6dia_Britannica/Last) ". Encyclopædia Britannica (/wiki/Encyclop%C3%A6dia_Britannica_Eleventh_Edition) (11th ed.). Cambridge University Press. . "History of Shoemaking in Britain—Tudors and Stuarts" (https://web.archive.org/web/20140219011657/http://staffscc.net/shoes1/?p=123) , Heart & Sole: Boot and Shoe Making in Staffordshire , Shugborough: Staffordshire County Museum, 9 December 2010, archived from the original (http://staffscc.net/shoes1/?p=123) on 2014-02-19 . "History of Shoemaking in Britain—Napoleonic Wars and the Industrial Revolution" (https://web.archive.org/web/20140202130102/http://staffscc.net/shoes1/?p=126) , Heart & Sole: Boot and Shoe Making in Staffordshire , Shugborough: Staffordshire County Museum, 9 December 2010, archived from the original (http://staffscc.net/shoes1/?p=126) on 2014-02-02 . Chamberlain, Gaius (23 March 2012), "Jan Matzeliger" (https://web.archive.org/web/20120219182822/http://www.blackinventor.com/pages/jan-matzeliger.html) , Black Inventor Online Museum , Adscape International, archived from the original (http://www.blackinventor.com/pages/jan-matzeliger.html) on 2012-02-19 . Cutter, William Richard; et al. (2021), "John Brooks Nichols" (https://www.fiddlebase.com/biographical-sketches/nichols-john-brooks/) , Fiddlebase . Kurtz, Jean-Paul (2014). Dictionnaire Etymologique des Anglicismes et des Américanismes [ Etymological Dictionary of Anglicisms and Americanisms ]. Books on Demand. ISBN (/wiki/ISBN_(identifier)) 9782322027385 . . Lienhard, Jan H. (2000), "No. 522: Jan Matzeliger" (http://www.uh.edu/engines/epi522.htm) , Engines of Our Ingenuity , Houston: University of Houston (/wiki/University_of_Houston) . Luximon, Ameersing; et al. (2013). Handbook of Footwear Design and Manufacture . Elsevier Science. ISBN (/wiki/ISBN_(identifier)) 978-0-85709-879-5 . . Mulligan, William H. Jr. (March 1981). "Mechanization and Work in the American Shoe Industry: Lynn, Massachusetts, 1852–1883" (https://www.jstor.org/stable/2120894) . The Journal of Economic History . 41 (1). Cambridge (/wiki/Cambridge,_England) : Cambridge University Press: 59–63. doi (/wiki/Doi_(identifier)) : 10.1017/S0022050700042753 (https://doi.org/10.1017%2FS0022050700042753) . JSTOR (/wiki/JSTOR_(identifier)) 2120894 (https://www.jstor.org/stable/2120894) . . Ringe, Donald A. (2017). From Proto-Indo-European to Proto-Germanic . Oxford: Oxford University Press. ISBN (/wiki/ISBN_(identifier)) 978-0-19-879258-1 . . External links [ edit ] Media related to Lasts (https://commons.wikimedia.org/wiki/Category:Lasts) at Wikimedia Commons History of lastmaking (http://lastmakingschool.com/history-of-Lastmaking-.htm) (lastmakingschool.com) What is a shoe last? (https://www.shoemakingcoursesonline.com/shoe-last-types/) (shoemakingcoursesonline.com) Authority control databases (/wiki/Help:Authority_control) : National Germany (https://d-nb.info/gnd/4125473-9) NewPP limit report Parsed by mw‐api‐ext.codfw.main‐c85b9bc65‐gxc6h Cached time: 20240719050431 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.492 seconds Real time usage: 0.654 seconds Preprocessor visited node count: 1671/1000000 Post‐expand include size: 26012/2097152 bytes Template argument size: 1432/2097152 bytes Highest expansion depth: 11/100 Expensive parser function count: 3/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 40765/5000000 bytes Lua time usage: 0.355/10.000 seconds Lua memory usage: 13731944/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 598.346 1 -total 18.16% 108.630 3 Template:Lang 15.62% 93.472 1 Template:Authority_control 14.94% 89.389 1 Template:EB1911 11.46% 68.592 1 Template:Short_description 10.82% 64.736 11 Template:Sfnp 7.71% 46.124 1 Template:Commons_category-inline 7.50% 44.903 1 Template:Sister-inline 6.34% 37.953 2 Template:Pagetype 3.67% 21.973 1 Template:Other_uses Saved in parser cache with key enwiki:pcache:idhash:927001-0!canonical and timestamp 20240719050431 and revision id 1230786996. 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German costume designer Aenne Willkomm Born ( 1902-06-17 ) 17 June 1902 Shanghai, China Died 20 June 1979 (1979-06-20) (aged 77) Hamburg, Germany Other names Änne Willkomm, Aenne Kettelhut (after marriage) Occupation Costume designer Spouse Erich Kettelhut (/wiki/Erich_Kettelhut) Aenne Willkomm (17 June 1902 – 20 June 1979), later Aenne Kettelhut , was a German costume designer, born in Shanghai (/wiki/Shanghai) . She worked in German silent films (/wiki/Silent_film) in the 1920s, including as costume designer on Metropolis (/wiki/Metropolis_(1927_film)) (1927). Early life [ edit ] Willkomm was born in Shanghai to European parents in 1902. [1] (#cite_note-1) Career [ edit ] Willkomm worked in the fashion industry before she worked with designer Heinrich Umlauff on Fritz Lang (/wiki/Fritz_Lang) 's two-part film epic, Die Nibelungen (/wiki/Die_Nibelungen) (1924). She became head of UFA-GmbH (/wiki/UFA_GmbH) 's costuming department on the strength of her work on that first assignment. [2] (#cite_note-:0-2) She went on to work with Lang on Metropolis , [3] (#cite_note-3) for which she designed and oversaw "literally thousands" [2] (#cite_note-:0-2) of Bauhaus (/wiki/Bauhaus) -inspired "futuristic" costumes, [4] (#cite_note-4) including for the film's main character, Maria (/wiki/Maschinenmensch) , played by Brigitte Helm (/wiki/Brigitte_Helm) . [5] (#cite_note-5) She often clashed with the demanding Lang on the set of Metropolis . [2] (#cite_note-:0-2) She worked on a few other films, including My Leopold (/wiki/My_Leopold_(1924_film)) (1924), Sister Veronika (/wiki/Sister_Veronika) (1926), and Der Katzensteg (/wiki/The_Catwalk_(film)) (1927, based on the novel by Hermann Sudermann (/wiki/Hermann_Sudermann) ). Personal life [ edit ] Willkomm retired from film and by 1931 married her colleague, production designer Erich Kettelhut (/wiki/Erich_Kettelhut) . She died in Hamburg in 1979, aged 77 years. [6] (#cite_note-6) References [ edit ] ^ (#cite_ref-1) Sigler, Lora Ann (2019-06-27). Medieval Art and the Look of Silent Film: The Influence on Costume and Set Design . McFarland. pp. 80–81. ISBN (/wiki/ISBN_(identifier)) 978-1-4766-7352-3 . ^ Jump up to: a b c McGilligan, Patrick (2013-09-01). Fritz Lang: The Nature of the Beast . U of Minnesota Press. pp. 95–96. ISBN (/wiki/ISBN_(identifier)) 978-1-4529-4064-9 . ^ (#cite_ref-3) Kreimeier, Klaus (1999-01-01). The Ufa Story: A History of Germany's Greatest Film Company, 1918-1945 . University of California Press. p. 154. ISBN (/wiki/ISBN_(identifier)) 978-0-520-22069-0 . ^ (#cite_ref-4) Ganeva, Mila (2008). Women in Weimar Fashion: Discourses and Displays in German Culture, 1918-1933 . Camden House. pp. 134–135, 149 note 71. ISBN (/wiki/ISBN_(identifier)) 978-1-57113-205-5 . ^ (#cite_ref-5) Fischer, Lucy (2003). Designing women : cinema, art deco, and the female form . Internet Archive. New York: Columbia University Press. pp. 208–210. ISBN (/wiki/ISBN_(identifier)) 978-0-231-12500-0 . ^ (#cite_ref-6) Kettelhut, Erich (2009). Erich Kettelhut: der Schatten des Architekten (in German). Belleville. ISBN (/wiki/ISBN_(identifier)) 978-3-936298-55-0 . External links [ edit ] Aenne Willkomm (https://www.imdb.com/name/nm0932523/) at IMDb (/wiki/IMDb_(identifier)) Aenne Willkomm (https://web.archive.org/web/20200411075418/https://www.bfi.org.uk/films-tv-people/4ce2badcbf12d) at the British Film Institute (/wiki/British_Film_Institute) [ better source needed ] Portal (/wiki/Wikipedia:Contents/Portals) : Biography (/wiki/Portal:Biography) Authority control databases (/wiki/Help:Authority_control) International ISNI (https://isni.org/isni/0000000082855061) VIAF (https://viaf.org/viaf/101268149) WorldCat (https://id.oclc.org/worldcat/entity/E39PBJc3GMJqYxTyKJbqmcbrv3) National Germany (https://d-nb.info/gnd/139539670) United States (https://id.loc.gov/authorities/no2010121428) People Deutsche Biographie (https://www.deutsche-biographie.de/pnd139539670.html?language=en) NewPP limit report Parsed by mw‐api‐ext.eqiad.main‐85f5b4c5d4‐w6fd7 Cached time: 20240712155838 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.568 seconds Real time usage: 0.764 seconds Preprocessor visited node count: 2258/1000000 Post‐expand include size: 25517/2097152 bytes Template argument size: 2159/2097152 bytes Highest expansion depth: 17/100 Expensive parser function count: 9/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 31907/5000000 bytes Lua time usage: 0.384/10.000 seconds Lua memory usage: 6021673/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 730.090 1 -total 30.10% 219.733 1 Template:Infobox_person 23.90% 174.501 1 Template:Reflist 20.55% 150.018 6 Template:Cite_book 15.87% 115.858 1 Template:Authority_control 13.95% 101.854 1 Template:Short_description 12.42% 90.707 4 Template:Br_separated_entries 8.51% 62.128 1 Template:Birth_date 7.95% 58.044 2 Template:Pagetype 6.70% 48.890 1 Template:Better_source_needed Saved in parser cache with key enwiki:pcache:idhash:65721913-0!canonical and timestamp 20240712155838 and revision id 1218126220. Rendering was triggered because: unknown esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Aenne_Willkomm&oldid=1218126220 (https://en.wikipedia.org/w/index.php?title=Aenne_Willkomm&oldid=1218126220) " Categories (/wiki/Help:Category) : 1902 births (/wiki/Category:1902_births) 1979 deaths (/wiki/Category:1979_deaths) German costume designers (/wiki/Category:German_costume_designers) Hidden categories: CS1 German-language sources (de) (/wiki/Category:CS1_German-language_sources_(de)) Articles with short description (/wiki/Category:Articles_with_short_description) Short description is different from Wikidata (/wiki/Category:Short_description_is_different_from_Wikidata) Articles with hCards (/wiki/Category:Articles_with_hCards) All articles lacking reliable references (/wiki/Category:All_articles_lacking_reliable_references) Articles lacking reliable references from October 2023 (/wiki/Category:Articles_lacking_reliable_references_from_October_2023) Articles with ISNI identifiers (/wiki/Category:Articles_with_ISNI_identifiers) Articles with VIAF identifiers (/wiki/Category:Articles_with_VIAF_identifiers) Articles with WorldCat Entities identifiers (/wiki/Category:Articles_with_WorldCat_Entities_identifiers) Articles with GND identifiers (/wiki/Category:Articles_with_GND_identifiers) Articles with LCCN identifiers (/wiki/Category:Articles_with_LCCN_identifiers) Articles with DTBIO identifiers (/wiki/Category:Articles_with_DTBIO_identifiers)
American fashion designer (1939–1995) Holly Harp Born Helen Roberta Speller ( 1935-10-24 ) 24 October 1935 Buffalo, New York Died 24 April 1995 (1995-04-24) (aged 59) Cedars Sinai Hospital, Los Angeles, California Education North Texas State University Years active 1968–1995 Label Holly's Harp Spouse James "Jim" Harp ( m. 1965; div. 1981) Partner Mark Buckman Children 1 Awards Distinguished Alumnus from University of North Texas (1979) Helen Roberta Speller (also known as Holly Harp ) (24 October 1939 – 24 April 1995) was an American fashion designer based in Los Angeles known for her nostalgic designs and style reminiscent of the hippie era. Life [ edit ] Born as Helen Roberta Speller on October 24th, 1939 in Buffalo, New York (/wiki/Buffalo,_New_York) , [1] (#cite_note-MET-1) Holly Harp studied art and costume design at North Texas State University (/wiki/North_Texas_State_University) , [2] (#cite_note-RR-2) where she met her husband, James "Jim" Harp, who she married in 1965 and would later divorce in 1981. [3] (#cite_note-NYT-3) [4] (#cite_note-FMD-4) [5] (#cite_note-SV-5) The Harps stayed in business together, with Jim starting to serve as sales director in 1986. [6] (#cite_note-HHSB-6) Harp additionally did night classes to learn pattern making. [2] (#cite_note-RR-2) They had a son, Thomas "Tommy/Tom" Harp. [4] (#cite_note-FMD-4) [7] (#cite_note-WWD-7) Harp died due to ovarian cancer on April 24th, 1995 at the Cedars Sinai Hospital (/wiki/Cedars-Sinai_Medical_Center) in Los Angeles (/wiki/Los_Angeles) , [3] (#cite_note-NYT-3) [8] (#cite_note-8) and additionally had breast cancer. [9] (#cite_note-FPB-9) Her mother predeceased her, as she had died when Harp was nine years old. [2] (#cite_note-RR-2) In addition to her ex-husband, son, and fiancé, Harp was survived by her siblings: sisters Elizabeth Horn and Sarah Bozzola, and brother Thomas Speller Jr. [10] (#cite_note-DHP-10) [3] (#cite_note-NYT-3) [6] (#cite_note-HHSB-6) Work [ edit ] Harp's work consisted of materials including nylon (/wiki/Nylon) , silk (/wiki/Silk) , rayon (/wiki/Rayon) , jersey (/wiki/Jersey) , and chiffon (/wiki/Chiffon_(fabric)) . [1] (#cite_note-MET-1) [11] (#cite_note-11) The style of her work ranged from a hippie, psychedelic style to a romantic, fantasy inspired style. [12] (#cite_note-FIDM-12) She began work upcycling (/wiki/Upcycling) fabrics and thrifting to make ready-made clothes and doing custom orders. [13] (#cite_note-13) [2] (#cite_note-RR-2) She designed evening wear, and prized theatrics as well as the happiness and confidence of her clients. [14] (#cite_note-14) She considered herself to work with nostalgia, [15] (#cite_note-TFM-15) and Harp's fiancé at the time of her death, Mark Buckman, [7] (#cite_note-WWD-7) said that she had described her work as "counterculturalist". [3] (#cite_note-NYT-3) Geraldine Stutz (/wiki/Geraldine_Stutz) is credited with introducing Harp to a wider audience as the president of Henri Bendel (/wiki/Henri_Bendel) . [16] (#cite_note-16) [17] (#cite_note-17) In 1968, Harp opened "Holly's Harp", a boutique on the Sunset Strip (/wiki/Sunset_Strip) . [12] (#cite_note-FIDM-12) Her work was sold on both coasts, from her store in Las Angeles to stores on Fifth Avenue (/wiki/Fifth_Avenue) , [3] (#cite_note-NYT-3) such as the stores Henri Bendel, [18] (#cite_note-VFG-18) Bergdorf Goodman (/wiki/Bergdorf_Goodman) , and Neiman Marcus (/wiki/Neiman_Marcus) . [10] (#cite_note-DHP-10) After her collection's appearance at Henri Bendel in 1972, she began manufacturing herself. [19] (#cite_note-19) In 1973, Harp filed for a patent under the name "Holly's Harp and Design" under "Holly's Harp Inc". [20] (#cite_note-20) Harp was one of the designers who took over the work from designer Anne Klein (/wiki/Anne_Klein_(fashion_designer)) after her death in 1974. [21] (#cite_note-21) In 1978, clothes from her factory were shipped to ninety stores. [15] (#cite_note-TFM-15) In 1986, her designs at Henri Bendel sold for $650 to $1,350. [22] (#cite_note-22) The boutique Holly's Harp closed in 1986, though she continued to work at her studio in Culver City (/wiki/Culver_City,_California) until her death in 1995. [12] (#cite_note-FIDM-12) [23] (#cite_note-23) After her diagnosis of breast cancer, Harp claimed her assistant Amy Michelson as the designer to continue her line. [9] (#cite_note-FPB-9) In 1994, Harp's jacket with two shirts retailed for $3,185. [24] (#cite_note-24) The firm "Holly's Harp" was inherited by her son and continued operations, including the creation of a new clothing line titled "HH by Amy Michelson” and a bridal line “Amy Michelson Wedding“ as well as the “Amy Michelson for Holly Harp” collection, [25] (#cite_note-25) until closing in 1999 at a stable volume of business of roughly $2.5 million. [6] (#cite_note-HHSB-6) Her work was worn by celebrities such as Janis Joplin (/wiki/Janis_Joplin) , Liza Minnelli (/wiki/Liza_Minnelli) , Diana Ross (/wiki/Diana_Ross) , Grace Slick (/wiki/Grace_Slick) , Barbra Streisand (/wiki/Barbra_Streisand) , and Jane Fonda (/wiki/Jane_Fonda) . [12] (#cite_note-FIDM-12) [10] (#cite_note-DHP-10) She was the stylist for Stevie Nicks (/wiki/Stevie_Nicks) , and created her stage persona. [26] (#cite_note-26) She was additionally head costume designer on movies such as Sleeper (/wiki/Sleeper_(1973_film)) and The Turning Point (/wiki/The_Turning_Point_(1977_film)) , [5] (#cite_note-SV-5) and her work appeared in the movie Cabaret (/wiki/Cabaret_(1972_film)) . [18] (#cite_note-VFG-18) She was credited as the inspiration for clothes by fashion brands Gucci (/wiki/Gucci) and Marc Jacobs (/wiki/Marc_Jacobs) by Cameron Silver (/wiki/Cameron_Silver) in June 2002. [27] (#cite_note-27) Her activity in the Los Angeles community extended to other artists and causes. She designed clothes for Judy Chicago (/wiki/Judy_Chicago) to paint on for International Festival of the Arts in New York, [10] (#cite_note-DHP-10) held a fundraiser with Elyse Grinstein (/wiki/Elyse_Grinstein) to raise money for Chicago's art project "The Dinner Party" in 1990 which Harp had also worked with Chicago on, [28] (#cite_note-28) [29] (#cite_note-29) [30] (#cite_note-30) and donated fabrics to Chicago's projects "Creation of the World". [31] (#cite_note-31) Harp did a show at a luncheon for the Cedars Sinai Hospital, [32] (#cite_note-32) and delivered meals to AIDs patients during protests. [10] (#cite_note-DHP-10) Awards and collections [ edit ] Her work was nominated twice for the Coty Awards (/wiki/Coty_Award) , [3] (#cite_note-NYT-3) [33] (#cite_note-33) and nominated for an award at the Los Angeles Woman's Building (/wiki/Woman%27s_Building_(Los_Angeles)) Annual Vesta Awards ceremony in 1990. [34] (#cite_note-34) [35] (#cite_note-35) She won the Distinguished Alumnus award in 1979 from her alma mater, University of North Texas. [36] (#cite_note-36) [37] (#cite_note-37) Harp's work is stored in collections at the MET (/wiki/Metropolitan_Museum_of_Art) , [1] (#cite_note-MET-1) the Fashion Institute of Design & Merchandising Museum (/wiki/Fashion_Institute_of_Design_%26_Merchandising_Museum) , [12] (#cite_note-FIDM-12) the Oakland Museum of California (/wiki/Oakland_Museum_of_California) , [38] (#cite_note-38) the Boston Museum of Fine Arts (/wiki/Museum_of_Fine_Arts,_Boston) , [39] (#cite_note-39) the Philadelphia Museum of Art (/wiki/Philadelphia_Museum_of_Art) , [40] (#cite_note-40) and Thomas Jefferson University (/wiki/Thomas_Jefferson_University) . [41] (#cite_note-41) References [ edit ] ^ Jump up to: a b c "Holly Harp \| Evening dress \| American" (https://www.metmuseum.org/art/collection/search/83516#:~:text=Holly%20Harp%20was%20a%20designer,integral%20qualities%20of%20the%20fabrics.) . The Metropolitan Museum of Art . ^ Jump up to: a b c d Lobenthal, Joel (1990). Radical rags: fashions of the sixties (1st ed.). New York: Abbeville Press. pp. 125–127. ISBN (/wiki/ISBN_(identifier)) 0896599302 . ^ Jump up to: a b c d e f Jr, Robert Mcg Thomas (30 April 1995). "Holly Harp, Fashion Designer Inspired by Hippies, Was 55" (https://www.nytimes.com/1995/04/30/obituaries/holly-harp-fashion-designer-inspired-by-hippies-was-55.html) . The New York Times . ^ Jump up to: a b "Holly Harp - Fashion Designer \| Designers \| The FMD" (https://www.fashionmodeldirectory.com/designers/holly-harp/) . The FMD - FashionModelDirectory.com . Fashion Model Directory. ^ Jump up to: a b "Harp, Holly" (https://swankvintage.com/collections/harp-holly-3) . Swank Vintage . ^ Jump up to: a b c Pogoda, Dianne M. (22 June 1999). "HOLLY HARP TO SHUTTER BUSINESS" (https://wwd.com/feature/article-1089614-1807180/) . WWD . Women's Wear Daily. ^ Jump up to: a b "HOLLY HARP" (https://wwd.com/fashion-news/fashion-features/article-1147545/) . WWD . Women's Wear Daily. 26 April 1995. ^ (#cite_ref-8) Chicago, Judy; Steinem, Gloria (2021). The flowering: the autobiography of Judy Chicago . New York, New York: Thames & Hudson Inc. ISBN (/wiki/ISBN_(identifier)) 9780500094389 . ^ Jump up to: a b Stein, Jeannine (10 May 2000). "Farewell, Princess Bride" (https://www.latimes.com/archives/la-xpm-2000-may-10-cl-28323-story.html) . Los Angeles Times . ^ Jump up to: a b c d e Turk, Rose-Marie (26 April 1995). "Holly Harp, 55; Designed Hand-Painted Clothing" (https://www.latimes.com/archives/la-xpm-1995-04-26-mn-58995-story.html) . Los Angeles Times . ^ (#cite_ref-11) Milinaire, Caterine; Troy, Carol (1 September 2015). Cheap Chic: Hundreds of Money-Saving Hints to Create Your Own Great Look . Crown. p. 196. ISBN (/wiki/ISBN_(identifier)) 978-1-101-90342-1 . ^ Jump up to: a b c d e Museum, FIDM (20 November 2009). "Holly's Harp" (https://fidmmuseum.org/2009/11/hollys-harp.html) . FIDM Museum . Fashion Institute of Design & Merchandising Museum. ^ (#cite_ref-13) Wills, David (3 October 2017). Switched On: Women Who Revolutionized Style in the 60s . Weldon Owen. p. 217. ISBN (/wiki/ISBN_(identifier)) 9781681882611 . ^ (#cite_ref-14) Taylor, Angela (6 March 1977). "What Famous Designers Have to Say About Faces" (https://www.nytimes.com/1977/03/06/archives/what-famous-designers-have-to-say-about-faces-what-famous-designers.html) . The New York Times . ^ Jump up to: a b Walz, Barbra; Morris, Bernadine (1978). The fashion makers (1st ed.). New York: Random House. pp. 102–104. ISBN (/wiki/ISBN_(identifier)) 9780394411668 . ^ (#cite_ref-16) Wilson, Eric (9 April 2005). "Geraldine Stutz Dies at 80; Headed Bendel for 29 Years" (https://www.nytimes.com/2005/04/09/business/geraldine-stutz-dies-at-80-headed-bendel-for-29-years.html?_r=0) . The New York Times . ^ (#cite_ref-17) Burstell, Ed (October 2015). At Liberty From Rehab to the Front Row . Michael O'Mara. ISBN (/wiki/ISBN_(identifier)) 9781782434696 . ^ Jump up to: a b "Holly's Harp" (https://vintagefashionguild.org/resources/item/label/hollys-harp/) . Vintage Fashion Guild . ^ (#cite_ref-19) O'Hara, Georgina; Donovan, Carrie (1989). The encyclopaedia of fashion: from 1840 to the 1980s (Repr. with rev., 1. paperback ed.). London: Thames and Hudson. p. 129. ISBN (/wiki/ISBN_(identifier)) 9780500275672 . ^ (#cite_ref-20) Office, United States Patent (1973). Official Gazette of the United States Patent Office: Patents [microform] . The Office. p. 57. ^ (#cite_ref-21) Pierre, Clara (1976). Looking good: the liberation of fashion . New York: Reader's Digest Press : distributed by Crowell. p. 248. ISBN (/wiki/ISBN_(identifier)) 0883490935 . ^ (#cite_ref-22) "NOTES ON FASHION" (https://www.nytimes.com/1986/04/08/style/notes-on-fashion.html) . The New York Times . 8 April 1986. ^ (#cite_ref-23) "Sally Field, Jane Seymour and other regulars..." (https://www.latimes.com/archives/la-xpm-1986-04-18-vw-468-story.html) Los Angeles Times . 18 April 1986. ^ (#cite_ref-24) LLC, New York Media (31 October 1994). New York Magazine . New York Media, LLC. p. 126. ^ (#cite_ref-25) Stein, Jeannine (18 December 1998). "Her Golden State" (https://www.latimes.com/archives/la-xpm-1998-dec-18-cl-55081-story.html) . Los Angeles Times . ^ (#cite_ref-26) Burns, Gary (8 March 2016). A companion to popular culture . Chichester, West Sussex Malden Oxford: Wiley Blackwell. ISBN (/wiki/ISBN_(identifier)) 9781118883334 . ^ (#cite_ref-27) Picardie, Justine (19 November 2022). "When Vogue Went Behind The Scenes At The 2002 Oscars" (https://www.vogue.co.uk/arts-and-lifestyle/article/vogue-2002-oscars-behind-the-scenes) . British Vogue . Vogue. ^ (#cite_ref-28) Goodwin, Betty (7 February 1990). "Inviting Help for 'Dinner Party' (https://www.latimes.com/archives/la-xpm-1990-02-07-vw-151-story.html) " (https://www.latimes.com/archives/la-xpm-1990-02-07-vw-151-story.html) . Los Angeles Times . Los Angeles Times. ^ (#cite_ref-29) Woods, Robert; Darnovsky, Marcy; Wallace, Bill; Stein, Ellin; Witko, Maud; Arnold, C. D.; Powelson, Mark; Edelson, Morris; Goldberg, Michael; Cohen, Richard; Thomas, J. N.; Snyder, Michael; Lyons, Len; Hurwitt, Robert; Kazin, Michael; Hirsch, Marina (29 March – 11 April 1979). "Berkeley Barb: Berkeley Barb" (https://www.jstor.org/stable/community.28033717) . Berkeley Barb . 29 (13(698)): 4. {{ cite journal (/wiki/Template:Cite_journal) }} : CS1 maint: date format ( link (/wiki/Category:CS1_maint:_date_format) ) ^ (#cite_ref-30) Chicago, Judy (1985). The birth project . Garden City, N.Y: Doubleday. p. 122. ISBN (/wiki/ISBN_(identifier)) 9780385187091 . ^ (#cite_ref-31) Chicago, Judy (1985). The birth project . Garden City, N.Y: Doubleday. p. 19. ISBN (/wiki/ISBN_(identifier)) 9780385187091 . ^ (#cite_ref-32) Center. (Summer 1997). "Compass [Cedars-Sinai Medical Center]" (https://www.jstor.org/stable/community.34600698) . Compass : 16. ^ (#cite_ref-33) Morris, Bernadine (24 October 1976). "Women Designing for Women Highly Individual Approaches" (https://www.nytimes.com/1976/10/24/archives/women-designing-for-women-highly-individual-approaches.html) . The New York Times . ^ (#cite_ref-34) Maksymowicz, Virginia; Langer, Cassandra L.; Moore, Sylvia; Winter, Amy; Hanson, Jo; Phillips, Leslie; Poulson, Elizabeth; Mihopoulos, Effie; Heisler, Eva; Yefimov, Alla; Leone, Vivien; Moore, Lylvia; Franz, Lissa; Holbrook, Megan W.; Steinitz, Hilary J.; Cole, Doris; Taylor, Karen Cord; Eichman, Shawn; Jewell, Terri L.; Mendelssohn, Suzanne; Seigel, Judy; Smuda, Gail; Newfield, Marcia (1 November 1990). "Women Artists News: Women Artists News" (https://www.jstor.org/stable/community.28046859) . Women Artists News . 15 (3): 34. ^ (#cite_ref-35) "Woman's Building Records" (https://oac.cdlib.org/findaid/ark:/13030/c8tq64vb/dsc/) . oac.cdlib.org . Online Archive of California. ^ (#cite_ref-36) "[Holly Harp during distinguished alumni announcement]" (https://digital.library.unt.edu/ark:/67531/metadc850699/) . UNT Digital Library . University of North Texas. 30 August 1978. ^ (#cite_ref-37) "Past Recipients" (https://untalumni.com/events/alumni-awards/past/) . UNT Alumni Association . University of North Texas. ^ (#cite_ref-38) "2003.46.1 \| OMCA COLLECTIONS" (https://collections.museumca.org/?q=collection-item/2003461) . collections.museumca.org . Oakland Museum of California. ^ (#cite_ref-39) "Woman's dress" (https://collections.mfa.org/objects/524383/womans-dress;jsessionid=C2BCA71C657921211635C9E23A0C6C9A?ctx=de0a3040-f919-44ac-88f9-01662e026884&idx=0) . collections.mfa.org . Museum of Fine Arts, Boston. ^ (#cite_ref-40) "Woman's Ensemble: Top and Wide-legged Trousers" (https://philamuseum.org/collection/object/328878) . philamuseum.org . Philadelphia Museum of Art. ^ (#cite_ref-41) Harp, Holly. "Dress" (https://www.jstor.org/stable/community.29577758) . Thomas Jefferson University. 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French fashion designer (born 1984) Maxime Simoëns Born ( 1984-11-15 ) 15 November 1984 (age 39) Lesquin (/wiki/Lesquin) Nationality French Education Chambre Syndicale de la Couture Parisienne (/w/index.php?title=Chambre_Syndicale_de_la_Couture_Parisienne&action=edit&redlink=1) Label Maxime Simoëns Website www (http://www.maximesimoens.com) .maximesimoens (http://www.maximesimoens.com) .com (http://www.maximesimoens.com) Maxime Simoens (born November 15, 1984, in Nord-Pas-de-Calais (/wiki/Nord-Pas-de-Calais) , France) is a French designer (/wiki/Fashion_design) who has been the artistic director of Paule Ka (/wiki/Paule_Ka) since 2019. He is an "invited member" of the Chamber of Parisian Couture union. Early life and education [ edit ] Simoens was born in Lesquin (/wiki/Lesquin) , near Lille (/wiki/Lille) , in 1984. [1] (#cite_note-1) At first inclined to pursue filmmaking, he later deemed it too technical. At a Madonna (/wiki/Madonna) concert in June 2001, the Drowned World Tour (/wiki/Drowned_World_Tour) , he decided to make fashion his profession. The sketches of Jean Paul Gaultier (/wiki/Jean_Paul_Gaultier) , displayed in the program, were the trigger for his decision on his future profession. His degree in hand, Maxime went to study applied arts at the School of Conde de Lyon, then joined the Paris Union Chamber of Couture. He came first in several fashion contests. Forever marked by the power of the costumes by Jean Paul Gaultier, he decided to force open the doors of this house in order to win his first contest in the realm of accessories. In 2006, he graduated top of his class and still learning from the creators of such large homes Elie Saab (/wiki/Elie_Saab) , John Galliano (/wiki/John_Galliano) for Dior (/wiki/Dior) and Nicolas Ghesquiere (/wiki/Nicolas_Ghesquiere) for Balenciaga (/wiki/Balenciaga) . [2] (#cite_note-2) Career [ edit ] Maxime Simoens, 2009–2015 [ edit ] In 2009, Simoens created his own brand in 2009. [3] (#cite_note-3) He strives to create his world free of influence and create its logo, a barcode, a nod to the consumer society. In February 2009 he was selected to Hyères (/wiki/Hy%C3%A8res) Fashion Festival in April and thus presented the first 10 pieces of his first collection, an innovative vision, combining graphic design at the architectural level of the garment. His silhouettes combine structure and fluidity, and he's often compared in the press to a young Yves Saint Laurent (/wiki/Yves_Saint_Laurent_(designer)) . In 2013, LVMH (/wiki/LVMH) took a minority stake in Simoens’ own brand for an undisclosed sum. [4] (#cite_note-4) That same year, the brand unveiled its first ready-to-wear (/wiki/Ready-to-wear) collection, together with its first bag and shoes collection. His women’s label closed in 2015. [5] (#cite_note-5) Léonard, 2011–2012 [ edit ] From 2011 to 2012, Simoens briefly served as creative director of French fashion house Léonard. [6] (#cite_note-6) In the Grand Palais (/wiki/Grand_Palais) in Paris he presented his first collection for Leonard on 5 March 2012. [7] (#cite_note-7) Azzaro, 2017–2020 [ edit ] From 2017 until 2020, Simoens was the artistic director of Azzaro (/wiki/Loris_Azzaro) , [8] (#cite_note-8) [9] (#cite_note-9) with responsibility for the brand’s couture collections, ready-to-wear lines, and accessories for women and men; he was succeeded by Olivier Theyskens (/wiki/Olivier_Theyskens) . [10] (#cite_note-10) Collections [ edit ] Nourishing inspiration in art, music and movies from all eras and styles, Simoens creates narrative collections each season telling a new story full of icons and strong visuals. The identity of his style is marked by the structure refining the silhouette, cuts, contrasts, embroidery, incorporating printed and put into abyss of optical illusions, organza leaves miles to be desired. Events [ edit ] On several occasions, Simoens dressed Melanie Laurent (/wiki/Melanie_Laurent) and Astrid Berges-Frisbey (/wiki/Astrid_Berges-Frisbey) . On the fourth season of Gossip Girl (/wiki/Gossip_Girl_(TV_series)) , he dressed the two main heroines, Blake Lively (/wiki/Blake_Lively) and Leighton Meester (/wiki/Leighton_Meester) . [11] (#cite_note-11) In 2011, Simoens dressed singer Beyoncé (/wiki/Beyonc%C3%A9) for the cover of her album 4 (/wiki/4_(Beyonc%C3%A9_album)) , the deluxe version, with one of his creations for Spring-Summer 2011–12. [12] (#cite_note-12) References [ edit ] ^ (#cite_ref-1) Simoens, Tomek Kolarski. "Maxime Simoens" (http://www.maximesimoens.com/) . Retrieved 7 March 2012 . ^ (#cite_ref-2) « 26-Year-Old Maxime Simoëns Takes On Couture » (http://www.style.com/stylefile/2011/01/26-year-old-maxime-simons-takes-on-couture/) sur Style.com (/wiki/Style.com) , January 21, 2011 ^ (#cite_ref-3) Astrid Wendlandt and Pascale Denis (21 February 2013), LVMH buys minority stake in designer Maxime Simoens (https://www.reuters.com/article/idUSL6N0BLDIS20130221) Reuters (/wiki/Reuters) . ^ (#cite_ref-4) Astrid Wendlandt and Pascale Denis (21 February 2013), LVMH buys minority stake in designer Maxime Simoens (https://www.reuters.com/article/idUSL6N0BLDIS20130221) Reuters (/wiki/Reuters) . ^ (#cite_ref-5) Tina Isaac-Goizé (3 July 2017), At Azzaro, Maxime Simoëns Paves the Way for a Comeback (https://www.vogue.com/article/azzaro-fall-2017-couture-maxime-simoens) Vogue (/wiki/Vogue_(magazine)) . ^ (#cite_ref-6) "Rising French star Maxime Simoens appointed creative director of Leonard" (https://globalnews.ca/news/168486/rising-french-star-maxime-simoens-appointed-creative-director-of-leonard/) . Global News. October 21, 2011 . Retrieved Apr 29, 2022 . ^ (#cite_ref-7) « Leonard Paris Fall Winter 2012-2013, VIDEO » (https://www.youtube.com/watch?v=dFo8F68YBY0&feature=player_embedded) , March 6, 2012 ^ (#cite_ref-8) Magali Moulinet (27 March 2017), Qui est Maxime Simoëns, le nouveau directeur artistique d'Azzaro ? (https://www.nouvelobs.com/mode/20170327.OBS7174/qui-est-maxime-simoens-le-nouveau-directeur-artistique-d-azzaro.html) L'Obs (/wiki/L%27Obs) . ^ (#cite_ref-9) Tina Isaac-Goizé (3 July 2017), At Azzaro, Maxime Simoëns Paves the Way for a Comeback (https://www.vogue.com/article/azzaro-fall-2017-couture-maxime-simoens) Vogue (/wiki/Vogue_(magazine)) . ^ (#cite_ref-10) Jennifer Weil and Miles Socha (February 5, 2020), EXCLUSIVE: Azzaro Taps Olivier Theyskens as Artistic Director (https://wwd.com/fashion-news/fashion-features/exclusive-azzaro-olivier-theyskens-artistic-director-1203462296/) Women's Wear Daily (/wiki/Women%27s_Wear_Daily) . ^ (#cite_ref-11) http://lashmagazine.blogspot.com/2011/01/maxime-simoens-wonder-kid.html (http://lashmagazine.blogspot.com/2011/01/maxime-simoens-wonder-kid.html) « Maxime Simoens : The Wonder kid », January 28, 2011 ^ (#cite_ref-12) Jessica Michault (/wiki/Jessica_Michault) , « For Her New Look, Beyoncé Goes Under the Radar » (https://www.nytimes.com/2011/07/19/fashion/19iht-fbeyonce19.html) in New York Times (/wiki/New_York_Times) , July 18, 2011 NewPP limit report Parsed by mw‐web.codfw.main‐5b8f7f4b65‐8zxtd Cached time: 20240623173624 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.237 seconds Real time usage: 0.330 seconds Preprocessor visited node count: 1817/1000000 Post‐expand include size: 8773/2097152 bytes Template argument size: 1580/2097152 bytes Highest expansion depth: 13/100 Expensive parser function count: 1/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 14216/5000000 bytes Lua time usage: 0.142/10.000 seconds Lua memory usage: 4875755/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 299.878 1 -total 44.54% 133.561 1 Template:Infobox_fashion_designer 30.25% 90.711 1 Template:Reflist 24.42% 73.226 1 Template:Cite_web 19.06% 57.165 1 Template:Short_description 13.77% 41.306 4 Template:Br_separated_entries 11.24% 33.710 2 Template:Pagetype 10.59% 31.766 1 Template:Birth_date_and_age 8.65% 25.937 18 Template:Main_other 6.21% 18.613 20 Template:Pluralize_from_text Saved in parser cache with key enwiki:pcache:idhash:34983426-0!canonical and timestamp 20240623173624 and revision id 1222730723. 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NewPP limit report Parsed by mw‐web.eqiad.main‐944cb8c54‐l9dwg Cached time: 20240711040715 Cache expiry: 2592000 Reduced expiry: false Complications: [] CPU time usage: 0.002 seconds Real time usage: 0.003 seconds Preprocessor visited node count: 1/1000000 Post‐expand include size: 0/2097152 bytes Template argument size: 0/2097152 bytes Highest expansion depth: 1/100 Expensive parser function count: 0/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 0/5000000 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 0.000 1 -total Saved in parser cache with key enwiki:pcache:idhash:66220663-0!canonical and timestamp 20240711040715 and revision id 1042776115. Rendering was triggered because: page-view Pages in category "Fashion designers from Paris" The following 19 pages are in this category, out of 19 total. This list may not reflect recent changes (/wiki/Wikipedia:FAQ/Categorization#Why_might_a_category_list_not_be_up_to_date?) . B Coco Brandolini d'Adda (/wiki/Coco_Brandolini_d%27Adda) C Charles Creed (/wiki/Charles_Creed) D Didit Hediprasetyo (/wiki/Didit_Hediprasetyo) Jacques Doucet (fashion designer) (/wiki/Jacques_Doucet_(fashion_designer)) G John Galliano (/wiki/John_Galliano) Madame Grès (/wiki/Madame_Gr%C3%A8s) K Emmanuelle Khanh (/wiki/Emmanuelle_Khanh) Lamine Badian Kouyaté (/wiki/Lamine_Badian_Kouyat%C3%A9) Titi Kwan (/wiki/Titi_Kwan) L Jeanne Lanvin (/wiki/Jeanne_Lanvin) François Lesage (/wiki/Fran%C3%A7ois_Lesage) M Zuhair Murad (/wiki/Zuhair_Murad) P Jean Patou (/wiki/Jean_Patou) S Claude Saint-Cyr (/wiki/Claude_Saint-Cyr) Jean-Louis Scherrer (/wiki/Jean-Louis_Scherrer) Francesco Smalto (/wiki/Francesco_Smalto) T Kenzō Takada (/wiki/Kenz%C5%8D_Takada) V Milan Vukmirovic (/wiki/Milan_Vukmirovic) W Charles Frederick Worth (/wiki/Charles_Frederick_Worth) esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Category:Fashion_designers_from_Paris&oldid=1042776115 (https://en.wikipedia.org/w/index.php?title=Category:Fashion_designers_from_Paris&oldid=1042776115) " Categories (/wiki/Help:Category) : Businesspeople from Paris (/wiki/Category:Businesspeople_from_Paris) French fashion designers (/wiki/Category:French_fashion_designers)
The topic of this article may not meet Wikipedia's notability guidelines for products and services (/wiki/Wikipedia:Notability_(organizations_and_companies)#Products_and_services) . Please help to demonstrate the notability of the topic by citing reliable secondary sources (/wiki/Wikipedia:Reliable_sources) that are independent (/wiki/Wikipedia:Independent_sources) of the topic and provide significant coverage of it beyond a mere trivial mention. If notability cannot be shown, the article is likely to be merged (/wiki/Wikipedia:Merging) , redirected (/wiki/Wikipedia:Redirect) , or deleted (/wiki/Wikipedia:Deletion_policy) . Find sources: "Fidji" (https://www.google.com/search?as_eq=wikipedia&q=%22Fidji%22) – news (https://www.google.com/search?tbm=nws&q=%22Fidji%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Fidji%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Fidji%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Fidji%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Fidji%22&acc=on&wc=on) ( May 2020 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Fidji Fragrance (/wiki/Perfume) by Released 1966 Label Guy Laroche (/wiki/Guy_Laroche) Fidji is a perfume (/wiki/Perfume) by Guy Laroche (/wiki/Guy_Laroche) , developed in 1966 by the perfumer Joséphine Catapano (/wiki/Jos%C3%A9phine_Catapano) . Fidji is named after the Fiji Islands (/wiki/Fiji) in the South Pacific. It is composed of notes of galbanum, hyacinth, lemon, bergamot, rose, jasmine, violet, ylang-ylang, carnation, orris, musk, patchouli, sandalwood, amber, vetiver and oakmoss. The bottle was designed by the artist Serge Mansau (/w/index.php?title=Serge_Mansau&action=edit&redlink=1) [1] (#cite_note-1) and was the first women's perfume line for Guy Laroche. References [ edit ] ^ (#cite_ref-1) Nigel Groom, The Perfume Handbook , 1992, p. 84 External links [ edit ] Fidji by Guy Laroche (1966) (https://yesterdaysperfume.typepad.com/yesterdays_perfume/2010/01/fidji-by-guy-laroche-1966.html) NewPP limit report Parsed by mw‐web.codfw.canary‐6f788b66cb‐pgz5l Cached time: 20240722170806 Cache expiry: 2592000 Reduced expiry: false Complications: [] CPU time usage: 0.096 seconds Real time usage: 0.141 seconds Preprocessor visited node count: 428/1000000 Post‐expand include size: 12883/2097152 bytes Template argument size: 294/2097152 bytes Highest expansion depth: 11/100 Expensive parser function count: 1/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 4485/5000000 bytes Lua time usage: 0.056/10.000 seconds Lua memory usage: 1553163/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 126.156 1 -total 62.64% 79.028 1 Template:Notability 52.54% 66.282 1 Template:Ambox 25.38% 32.016 1 Template:Infobox_fragrance 23.72% 29.922 1 Template:Infobox 10.89% 13.744 1 Template:Reflist 9.39% 11.847 1 Template:Find_sources_mainspace 3.72% 4.688 1 Template:Strong 1.19% 1.498 1 Template:Template_other 1.15% 1.450 1 Template:Main_other Saved in parser cache with key enwiki:pcache:idhash:8288726-0!canonical and timestamp 20240722170806 and revision id 1000025942. Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Fidji&oldid=1000025942 (https://en.wikipedia.org/w/index.php?title=Fidji&oldid=1000025942) " Categories (/wiki/Help:Category) : Perfumes (/wiki/Category:Perfumes) Products introduced in 1966 (/wiki/Category:Products_introduced_in_1966) Hidden categories: Articles with topics of unclear notability from May 2020 (/wiki/Category:Articles_with_topics_of_unclear_notability_from_May_2020) All articles with topics of unclear notability (/wiki/Category:All_articles_with_topics_of_unclear_notability) Products articles with topics of unclear notability (/wiki/Category:Products_articles_with_topics_of_unclear_notability)
1843 poem by Thomas Hood For the 1908 film based on the poem, see The Song of the Shirt (film) (/wiki/The_Song_of_the_Shirt_(film)) . Beatrice Offor (/wiki/Beatrice_Offor) "It is not the linen you're wearing out, but human creatures' lives" (the title is a quotation from the poem) Anna Blunden (/wiki/Anna_Blunden) "The Seamstress" or "For Only One Short Hour" (1854) " The Song of the Shirt " is a poem written by Thomas Hood (/wiki/Thomas_Hood) in 1843. It was written in honour of a Mrs. Biddell, a widow and seamstress (/wiki/Seamstress) living in wretched conditions. In what was, at that time, common practice, Mrs. Biddell sewed trousers and shirts in her home using materials given to her by her employer for which she was forced to give a £ (/wiki/GBP) 2 deposit. In a desperate attempt to feed her starving infants, Mrs. Biddell pawned the clothing she had made, thus accruing a debt she could not pay. Mrs. Biddell, whose first name has not been recorded, was sent to a workhouse, and her ultimate fate is unknown; however, her story became a catalyst for those who actively opposed the wretched conditions of England's working poor (/wiki/Working_poor) , who often spent seven days a week labouring under inhumane conditions, barely managing to survive and with no prospect for relief. [1] (#cite_note-1) [2] (#cite_note-2) The poem was published anonymously (/wiki/Anonymous_publication) in the Christmas edition of Punch (/wiki/Punch_(magazine)) in 1843 and quickly became a phenomenon, centering people's attention not only on Mrs. Biddell's case, but on the conditions of workers in general. Though Hood was not politically radical (/wiki/Radicalism_(politics)) , his work, like that of Charles Dickens (/wiki/Charles_Dickens) , contributed to the general awareness of the condition of the working class (/wiki/Working_class) which fed the popularity of trade unionism (/wiki/Trade_unionism) and the push for stricter labour laws (/wiki/Labour_law) . Following is the first stanza of the poem; for the complete text, see the Wikisource link below. With fingers weary and worn, With eyelids heavy and red, A woman sat in unwomanly rags, Plying her needle and thread – Stitch! Stitch! Stitch! In poverty, hunger, and dirt, And still with a voice of dolorous pitch She sang 'The Song of the Shirt!' References [ edit ] ^ (#cite_ref-1) Shea, Victor; Whitla, William (2014). Victorian Literature: An Anthology . Chichester, United Kingdom: John Wiley and Sons, Ltd . Retrieved 15 September 2022 . ^ (#cite_ref-2) Hunter, Clare (2019). Threads of Life: A History of the World Through the Eye of a Needle . ABRAMS, Incorporated (Ignition) . Retrieved 15 September 2022 . Sheila Blackburn, A Fair Day's Wage for a Fair Day's Work? ( London: Ashgate Press, 2007) Walter Jerrold (/wiki/Walter_Jerrold) , Thomas Hood: His Life and Times (London: Alston Rivers (/wiki/Alston_Rivers) , 1907) External links [ edit ] Wikisource (/wiki/Wikisource) has original text related to this article: The Song of the Shirt (https://en.wikisource.org/wiki/Special:Search/The_Song_of_the_Shirt) Wikiquote has quotations related to Thomas Hood (https://en.wikiquote.org/wiki/Thomas_Hood) . 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Japanese textile artist, weaver, and educator Misao Jo 城みさを Born ( 1913-04-27 ) April 27, 1913 Sakai (/wiki/Sakai) , Osaka Prefecture (/wiki/Osaka_Prefecture) , Japan (/wiki/Japan) Died January 10, 2018 (2018-01-10) (aged 104) Nationality Japanese Occupation(s) textile (/wiki/Textile) artist, weaver, educator Known for Saori weaving founder Misao Jo ( 城みさを , Jō Misao , April 27, 1913 – January 10, 2018) was a Japanese textile (/wiki/Textile) artist, weaver, and educator. She was born in Sakai (/wiki/Sakai) , Osaka Prefecture (/wiki/Osaka_Prefecture) . [1] (#cite_note-1) [2] (#cite_note-2) She is famous for establishing the modern Japanese style of weaving known as Saori, [3] (#cite_note-3) as well as a philosophical framework for weaving which included Zen philosophy. [4] (#cite_note-4) References [ edit ] ^ (#cite_ref-1) さをり織り創始者・城みさをさん死去１０４歳 [Saori weaving founder Misao Jo passes away at age 104]. Asahi Shimbun (/wiki/Asahi_Shimbun) . 2018-01-16 . Retrieved 2018-11-04 . ^ (#cite_ref-2) "SAORI Global - Freestyle Weaving for Everyone" (http://saoriglobal.com/) . SAORI Global . Retrieved 2018-06-17 . ^ (#cite_ref-3) "SAORINOMORI - About SAORI" (http://www.saorinomori.com/eng/en_saori.html) . www.saorinomori.com (in Japanese) . Retrieved 2018-06-17 . ^ (#cite_ref-4) "What is SAORI? - SAORI Global" (http://saoriglobal.com/what-is-saori/) . SAORI Global . Retrieved 2018-06-17 . Authority control databases (/wiki/Help:Authority_control) International FAST (http://id.worldcat.org/fast/120296/) VIAF (https://viaf.org/viaf/62930054) WorldCat (https://id.oclc.org/worldcat/entity/E39PBJcWpK8JdmX7rCGmm4Dg8C) National United States (https://id.loc.gov/authorities/n83204641) This Japanese artist–related article is a stub (/wiki/Wikipedia:Stub) . You can help Wikipedia by expanding it (https://en.wikipedia.org/w/index.php?title=Misao_Jo&action=edit) . v t e NewPP limit report Parsed by mw‐web.codfw.main‐58c7647fd9‐8hc5h Cached time: 20240713021828 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1] CPU time usage: 0.481 seconds Real time usage: 0.597 seconds Preprocessor visited node count: 1885/1000000 Post‐expand include size: 18552/2097152 bytes Template argument size: 1283/2097152 bytes Highest expansion depth: 17/100 Expensive parser function count: 5/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 25032/5000000 bytes Lua time usage: 0.358/10.000 seconds Lua memory usage: 20574180/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 576.916 1 -total 27.42% 158.179 1 Template:Infobox_person 20.54% 118.485 1 Template:Reflist 19.61% 113.133 1 Template:Nihongo 16.10% 92.877 2 Template:Cite_news 14.90% 85.945 1 Template:Authority_control 11.65% 67.229 1 Template:Short_description 9.66% 55.745 4 Template:Br_separated_entries 7.04% 40.634 2 Template:Pagetype 5.42% 31.273 16 Template:Main_other Saved in parser cache with key enwiki:pcache:idhash:57706367-0!canonical and timestamp 20240713021828 and revision id 1085890726. Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Misao_Jo&oldid=1085890726 (https://en.wikipedia.org/w/index.php?title=Misao_Jo&oldid=1085890726) " Categories (/wiki/Help:Category) : 1913 births (/wiki/Category:1913_births) 2018 deaths (/wiki/Category:2018_deaths) People from Sakai, Osaka (/wiki/Category:People_from_Sakai,_Osaka) Japanese centenarians (/wiki/Category:Japanese_centenarians) Women centenarians (/wiki/Category:Women_centenarians) Japanese weavers (/wiki/Category:Japanese_weavers) Japanese artist stubs (/wiki/Category:Japanese_artist_stubs) Hidden categories: CS1 uses Japanese-language script (ja) (/wiki/Category:CS1_uses_Japanese-language_script_(ja)) CS1 Japanese-language sources (ja) (/wiki/Category:CS1_Japanese-language_sources_(ja)) Articles with short description (/wiki/Category:Articles_with_short_description) Short description is different from Wikidata (/wiki/Category:Short_description_is_different_from_Wikidata) Articles with hCards (/wiki/Category:Articles_with_hCards) Articles containing Japanese-language text (/wiki/Category:Articles_containing_Japanese-language_text) Articles with FAST identifiers (/wiki/Category:Articles_with_FAST_identifiers) Articles with VIAF identifiers (/wiki/Category:Articles_with_VIAF_identifiers) Articles with WorldCat Entities identifiers (/wiki/Category:Articles_with_WorldCat_Entities_identifiers) Articles with LCCN identifiers (/wiki/Category:Articles_with_LCCN_identifiers) All stub articles (/wiki/Category:All_stub_articles)
Sonja Bata OC (/wiki/Order_of_Canada) MSM (/wiki/Meritorious_Service_Medal_(Canada)) CD (/wiki/Canadian_Forces%27_Decoration) Born Sonja Ingrid Wettstein ( 1926-11-08 ) 8 November 1926 Zürich (/wiki/Z%C3%BCrich) , Switzerland Died 20 February 2018 (2018-02-20) (aged 91) Toronto (/wiki/Toronto) , Ontario (/wiki/Ontario) , Canada Nationality Swiss (/wiki/Switzerland) Other names Sonja Baťová Occupation(s) Businesswoman, philanthropist, collector and museum founder Spouse Thomas J. Bata (/wiki/Thomas_J._Bata) Children 4 Relatives Tomáš Baťa (/wiki/Tom%C3%A1%C5%A1_Ba%C5%A5a) (father-in-law) Sonja Ingrid Bata OC (/wiki/Order_of_Canada) MSM (/wiki/Meritorious_Service_Medal_(Canada)) CD (/wiki/Canadian_Forces%27_Decoration) (or Sonja Baťová ; née (/wiki/Birth_name#Maiden_and_married_names) Wettstein ; 8 November 1926 – 20 February 2018) was a Swiss Canadian (/wiki/Swiss_Canadian) businesswoman, philanthropist, collector and museum founder, [1] (#cite_note-FOOTNOTERezac2005139-1) who initially trained as an architect. [2] (#cite_note-2) [3] (#cite_note-3) Biography [ edit ] She left her architecture studies after her marriage to Thomas J. Bata (/wiki/Thomas_J._Bata) of Bata Shoes (/wiki/Bata_Shoes) and moved to Toronto (/wiki/Toronto) in 1946, befriending those in the architecture community – Raymond Moriyama (/wiki/Raymond_Moriyama) designed the Bata Shoe Museum (/wiki/Bata_Shoe_Museum) , while John Cresswell Parkin (/wiki/John_Cresswell_Parkin) designed the impressive Don Mills (/wiki/Don_Mills) headquarters of Bata Shoes and the family's country house in Batawa (/wiki/Batawa) . [4] (#cite_note-LeBlanc2009-4) Though she had earlier envisioned herself to become a great architect, she set her designs on improving the Bata Shoe company. [5] (#cite_note-FOOTNOTEBataSinclair1990132-5) Bata Shoe Museum Also in the 1940s, she began collecting shoes and studying their history. In 1979, she endowed the Bata Shoe Museum Foundation. The Bata Shoe Museum, established in 1995, is the world's largest shoe museum, [6] (#cite_note-FOOTNOTEDeMello200932-6) and the core collection is attributed to Bata. [7] (#cite_note-FOOTNOTEGrzeskowiak200848-7) She was the museum's chairperson. [8] (#cite_note-FOOTNOTEBenstockFerriss200135-8) Bata was also the chair of the National Design Council (/w/index.php?title=National_Design_Council&action=edit&redlink=1) (1970s). [9] (#cite_note-FOOTNOTEBataSinclair1990138-9) She helped establish the Toronto French School (/wiki/Toronto_French_School) , served as director the Art Gallery of Ontario (/wiki/Art_Gallery_of_Ontario) , sat on the boards of Alcan (/wiki/Alcan) and Canada Trustco (now TD Canada Trust (/wiki/TD_Canada_Trust) ), affiliated with the World Wildlife Fund (/wiki/World_Wildlife_Fund) , [10] (#cite_note-FOOTNOTEBataSinclair1990139-10) and became an Honorary Captain in the RCN and sponsor of HMCS (/wiki/HMCS_Ottawa_(FFH_341)) Ottawa . [1] (#cite_note-FOOTNOTERezac2005139-1) She was appointed an Officer of the Order of Canada (/wiki/Officer_of_the_Order_of_Canada) in 1983. [11] (#cite_note-11) She died at her home in Toronto on 20 February 2018, outliving her husband for nine years. Personal life [ edit ] She had four children. [12] (#cite_note-FOOTNOTEBataSinclair1990134-12) Her father-in-law is Tomáš Baťa (/wiki/Tom%C3%A1%C5%A1_Ba%C5%A5a) , the founder of Bata Shoes. [ citation needed ] [13] (#cite_note-13) Awards [ edit ] Appointed an Officer of the Order of Canada (/wiki/Order_of_Canada) (OC) in 1983. She received the 125th Anniversary of the Confederation of Canada Medal (/wiki/125th_Anniversary_of_the_Confederation_of_Canada_Medal) in 1992. She received the Canadian Version of the Queen Elizabeth II Golden Jubilee Medal (/wiki/Queen_Elizabeth_II_Golden_Jubilee_Medal) in 2002. She received the Canadian Version of the Queen Elizabeth II Diamond Jubilee Medal (/wiki/Queen_Elizabeth_II_Diamond_Jubilee_Medal) in 2012. She received the Meritorious Service Medal (/wiki/Meritorious_Service_Medal_(Canada)) (MSM) in the Military Division on 19 February 2007. [14] (#cite_note-14) She received the Canadian Forces' Decoration (/wiki/Canadian_Forces%27_Decoration) (CD) with 1 Clasp for 24 years service as an Honorary Captain (/wiki/Captain_(naval)) with the Royal Canadian Navy (/wiki/Royal_Canadian_Navy) 1989-2013. Companion of the Canadian Business Hall of Fame (/wiki/Canadian_Business_Hall_of_Fame) Lifetime achievement award, Retail Council of Canada (/wiki/Retail_Council_of_Canada#Lifetime_achievement_award) 1995, Conference Board of Canada (/wiki/Conference_Board_of_Canada) [ clarification needed ] References [ edit ] ^ Jump up to: a b Rezac 2005 (#CITEREFRezac2005) , p. 139. ^ (#cite_ref-2) "Sonja I. Bata 8 nov 1926 - Google Search" (https://www.google.com/search?tbm=bks&q=Sonja+I.+Bata+8+nov+1926) . google.com . Retrieved 24 October 2018 . ^ (#cite_ref-3) Hampson, Sarah (21 February 2018). "Sonja Bata was a guiding force of the Bata shoe enterprise" (https://www.theglobeandmail.com/news/national/sonja-bata-was-the-guiding-force-of-the-bata-shoe-enterprise/article38053718/) . The Globe and Mail . Retrieved 24 October 2018 . ^ (#cite_ref-LeBlanc2009_4-0) LeBlanc, Dave (27 August 2009). "The Architourist - Before modern turned retro" (https://www.theglobeandmail.com/life/home-and-garden/real-estate/before-modern-turned-retro/article1345237/) . The Globe and Mail . Retrieved 17 October 2015 . ^ (#cite_ref-FOOTNOTEBataSinclair1990132_5-0) Bata & Sinclair 1990 (#CITEREFBataSinclair1990) , p. 132. ^ (#cite_ref-FOOTNOTEDeMello200932_6-0) DeMello 2009 (#CITEREFDeMello2009) , p. 32. ^ (#cite_ref-FOOTNOTEGrzeskowiak200848_7-0) Grzeskowiak 2008 (#CITEREFGrzeskowiak2008) , p. 48. ^ (#cite_ref-FOOTNOTEBenstockFerriss200135_8-0) Benstock & Ferriss 2001 (#CITEREFBenstockFerriss2001) , p. 35. ^ (#cite_ref-FOOTNOTEBataSinclair1990138_9-0) Bata & Sinclair 1990 (#CITEREFBataSinclair1990) , p. 138. ^ (#cite_ref-FOOTNOTEBataSinclair1990139_10-0) Bata & Sinclair 1990 (#CITEREFBataSinclair1990) , p. 139. ^ (#cite_ref-11) Bryant, Nolan (2016-08-27). "WOMAN OF INFLUENCE: MRS. BATA AT 90" (https://www.proquest.com/docview/2273238796) . The Globe and Mail (/wiki/The_Globe_and_Mail) . ProQuest (/wiki/ProQuest_(identifier)) 2273238796 (https://search.proquest.com/docview/2273238796) . Retrieved 2022-01-26 . ^ (#cite_ref-FOOTNOTEBataSinclair1990134_12-0) Bata & Sinclair 1990 (#CITEREFBataSinclair1990) , p. 134. ^ (#cite_ref-13) "Sonja Bata, founder of Bata Shoe Museum in Toronto, remembered for passion, generosity - CBC News" (http://www.cbc.ca/news/canada/toronto/sonja-bata-obit-1.4545860) . Retrieved 24 October 2018 . ^ (#cite_ref-14) "Honorary Captain(N) Sonja Ingrid Bata" (https://www.gg.ca/en/honours/recipients/139-286) . Bibliography [ edit ] Bata, Thomas John; Sinclair, Sonja (1990). Bata: Shoemaker to the World . Bata. ISBN (/wiki/ISBN_(identifier)) 978-0-7737-2416-7 . Benstock, Shari (/wiki/Shari_Benstock) ; Ferriss, Suzanne (2001). Footnotes: On Shoes . Rutgers University Press. ISBN (/wiki/ISBN_(identifier)) 978-0-8135-2871-7 . DeMello, Margo (10 September 2009). Feet and Footwear: A Cultural Encyclopedia . ABC-CLIO. ISBN (/wiki/ISBN_(identifier)) 978-0-313-35715-2 . Grzeskowiak, Mark (16 April 2008). Toronto & Niagara Colourguide . Formac Publishing Company Limited. ISBN (/wiki/ISBN_(identifier)) 978-0-88780-760-2 . Rezac, Darcy (2005). Work the Pond: Use the Power of Positive Networking to Leap Forward in Work and Life . Prentice Hall Press. ISBN (/wiki/ISBN_(identifier)) 978-0-7352-0402-7 . v t e Bata Corporation (/wiki/Bata_Corporation) Bata family Tomáš Baťa (/wiki/Tom%C3%A1%C5%A1_Ba%C5%A5a) (founder) Jan Antonín Baťa (/wiki/Jan_Anton%C3%ADn_Ba%C5%A5a) Thomas J. Bata (/wiki/Thomas_J._Bata) Sonja Bata Associated places Anaurilândia (/wiki/Anauril%C3%A2ndia) Batadorp (/wiki/Batadorp) Bataguassu (/wiki/Bataguassu) Batayporã (/wiki/Bataypor%C3%A3) Batanagar (/wiki/Batanagar) Batapur (/wiki/Batapur) Batawa (/wiki/Batawa) Borovo (/wiki/Borovo,_Croatia) Partizánske (/wiki/Partiz%C3%A1nske) Svit (/wiki/Svit) Zlín (/wiki/Zl%C3%ADn) Baťa's Skyscraper (/wiki/Ba%C5%A5a%27s_Skyscraper) Tomas Bata University in Zlín (/wiki/Tomas_Bata_University_in_Zl%C3%ADn) Former properties Bata shoe factory (/wiki/Bata_shoe_factory) Bata Shoes Head Office (/wiki/Bata_Shoes_Head_Office) Related 4318 Baťa (/wiki/4318_Ba%C5%A5a) Bata Shoe Museum (/wiki/Bata_Shoe_Museum) Zlin Aircraft (/wiki/Zlin_Aircraft) Authority control databases (/wiki/Help:Authority_control) International ISNI (https://isni.org/isni/0000000420511713) VIAF (https://viaf.org/viaf/305442199) WorldCat (https://id.oclc.org/worldcat/entity/E39PBJkCY8kf3dJ8kwtxVBFVG3) National Germany (https://d-nb.info/gnd/1047563886) United States (https://id.loc.gov/authorities/no2018123541) Czech Republic (https://aleph.nkp.cz/F/?func=find-c&local_base=aut&ccl_term=ica=jo2013794854&CON_LNG=ENG) NewPP limit report Parsed by mw‐web.codfw.main‐8698f5b84d‐xwr8r Cached time: 20240717205938 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.456 seconds Real time usage: 0.642 seconds Preprocessor visited node count: 4038/1000000 Post‐expand include size: 43853/2097152 bytes Template argument size: 3102/2097152 bytes Highest expansion depth: 17/100 Expensive parser function count: 9/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 54945/5000000 bytes Lua time usage: 0.316/10.000 seconds Lua memory usage: 8054657/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 600.590 1 -total 37.98% 228.121 1 Template:Infobox_person 22.07% 132.573 1 Template:Reflist 18.91% 113.579 4 Template:Br_separated_entries 15.92% 95.634 1 Template:Birth_date 15.64% 93.948 3 Template:Cite_web 12.60% 75.702 1 Template:Bata_Limited 12.37% 74.323 2 Template:Navbox 6.99% 41.966 1 Template:Citation_needed 6.98% 41.938 9 Template:Sfn Saved in parser cache with key enwiki:pcache:idhash:48256182-0!canonical and timestamp 20240717205938 and revision id 1220433577. Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Sonja_Bata&oldid=1220433577 (https://en.wikipedia.org/w/index.php?title=Sonja_Bata&oldid=1220433577) " Categories (/wiki/Help:Category) : 1926 births (/wiki/Category:1926_births) 2018 deaths (/wiki/Category:2018_deaths) Bata family (/wiki/Category:Bata_family) Bata Corporation (/wiki/Category:Bata_Corporation) Swiss philanthropists (/wiki/Category:Swiss_philanthropists) Swiss women architects (/wiki/Category:Swiss_women_architects) Canadian women architects (/wiki/Category:Canadian_women_architects) Canadian women business executives (/wiki/Category:Canadian_women_business_executives) Museum founders (/wiki/Category:Museum_founders) Businesspeople from Zürich (/wiki/Category:Businesspeople_from_Z%C3%BCrich) Canadian women philanthropists (/wiki/Category:Canadian_women_philanthropists) Canadian people of Swiss descent (/wiki/Category:Canadian_people_of_Swiss_descent) 20th-century Canadian philanthropists (/wiki/Category:20th-century_Canadian_philanthropists) Women founders (/wiki/Category:Women_founders) 20th-century women philanthropists (/wiki/Category:20th-century_women_philanthropists) Hidden categories: Articles with hCards (/wiki/Category:Articles_with_hCards) All articles with unsourced statements (/wiki/Category:All_articles_with_unsourced_statements) Articles with unsourced statements from February 2018 (/wiki/Category:Articles_with_unsourced_statements_from_February_2018) Wikipedia articles needing clarification from November 2015 (/wiki/Category:Wikipedia_articles_needing_clarification_from_November_2015) Articles with ISNI identifiers (/wiki/Category:Articles_with_ISNI_identifiers) Articles with VIAF identifiers (/wiki/Category:Articles_with_VIAF_identifiers) Articles with WorldCat Entities identifiers (/wiki/Category:Articles_with_WorldCat_Entities_identifiers) Articles with GND identifiers (/wiki/Category:Articles_with_GND_identifiers) Articles with LCCN identifiers (/wiki/Category:Articles_with_LCCN_identifiers) Articles with NKC identifiers (/wiki/Category:Articles_with_NKC_identifiers)
This portrait of an unknown Italian noblewoman has mistakenly been called the Turkish Slave (/wiki/Turkish_Slave) because her headdress was considered a turban for centuries. [1] (#cite_note-YOF-1) The Balzo was a headdress worn by noblewomen of Italy in the 1530s. It was donut-shaped but appeared turban-like from the front, though it was generally worn further back from the forehead exposing the hair, unlike a period turban (/wiki/Turban) . It is assumed as a fashion invention by Isabella d'Este (/wiki/Isabella_d%27Este) , first documented in letters in 1509 and 1512 [2] (#cite_note-2) and well copied in later years. The headdress was a throwback to a larger rounded headdress from the 15th century in Italy that covered the hair of the wearer. [3] (#cite_note-3) Then the hairline was often plucked. Though mostly known as a woman's headdress, there is evidence that men also wore a form of the balzo. Profile Portrait of a Lady (/wiki/Profile_Portrait_of_a_Lady) , c.1410 portrait of a woman wearing an "early balzo" with a plucked forehead Francesco Francia (/wiki/Francesco_Francia) attributed - likely Isabella d'Este in 1511 Two women and a man wearing a balzo, showing the differences in style References [ edit ] ^ (#cite_ref-YOF_1-0) 20,000 Years of Fashion (/wiki/20,000_Years_of_Fashion) , page 219-220 ^ (#cite_ref-2) Luzio and Renier: Il lusso di Isabella d’Este, Marchesa di Mantova: la guardaroba , Nuova antologia, vol. 63 (1896) p. 462 and vol. 64 (1896) p. 667. ^ (#cite_ref-3) Balzo (https://home.earthlink.net/~lizjones429/balzo-new.htm) Archived (https://web.archive.org/web/20160907212201/http://home.earthlink.net/~lizjones429/balzo-new.htm) 2016-09-07 at the Wayback Machine (/wiki/Wayback_Machine) on clothing website Wikimedia Commons has media related to Balzo (https://commons.wikimedia.org/wiki/Category:Balzo) . v t e Clothing (/wiki/Clothing) History (/wiki/History_of_clothing_and_textiles) Industry (/wiki/Clothing_industry) Technology (/wiki/Clothing_technology) Terminology (/wiki/Clothing_terminology) Timeline (/wiki/Timeline_of_clothing_and_textiles_technology) Headwear (/wiki/Headgear) Beret (/wiki/Beret) Cap (/wiki/Cap) baseball (/wiki/Baseball_cap) flat (/wiki/Flat_cap) knit (/wiki/Knit_cap) Hat (/wiki/Hat) boater (/wiki/Boater) bowler (/wiki/Bowler_hat) fedora (/wiki/Fedora) homburg (/wiki/Homburg_hat) top (/wiki/Top_hat) Helmet (/wiki/Helmet) Hood (/wiki/Hood_(headgear)) Kerchief (/wiki/Kerchief) Mask (/wiki/Mask) Turban (/wiki/Turban) Veil (/wiki/Veil) Neckwear (/wiki/Neckwear) Bands (/wiki/Bands_(neckwear)) Choker (/wiki/Choker) Clerical collar (/wiki/Clerical_collar) Lavallière (/wiki/Pussy_bow) Neckerchief (/wiki/Neckerchief) Neck gaiter (/wiki/Neck_gaiter) Necktie (/wiki/Necktie) ascot (/wiki/Ascot_tie) bolo (/wiki/Bolo_tie) bow (/wiki/Bow_tie) kipper (/wiki/Kipper_tie) school (/wiki/School_tie) stock (/wiki/Stock_tie) Scarf (/wiki/Scarf) Tippet (/wiki/Tippet) Tops (/wiki/Top_(clothing)) Blouse (/wiki/Blouse) cache-cœur (/wiki/Cache-c%C5%93ur) crop top (/wiki/Crop_top) halterneck (/wiki/Halterneck) tube top (/wiki/Tube_top) Cycling (/wiki/Cycling_jersey) Kurta (/wiki/Kurta) Mantle (/wiki/Mantle_(clothing)) Shirt (/wiki/Shirt) dress (/wiki/Dress_shirt) Henley (/wiki/Henley_shirt) polo (/wiki/Polo_shirt) sleeveless (/wiki/Sleeveless_shirt) T (/wiki/T-shirt) Sweater (/wiki/Sweater) cardigan (/wiki/Cardigan_(sweater)) guernsey (/wiki/Guernsey_(clothing)) hoodie (/wiki/Hoodie) jersey (/wiki/Jersey_(clothing)) polo neck (/wiki/Polo_neck) shrug (/wiki/Shrug_(clothing)) sweater vest (/wiki/Sweater_vest) twinset (/wiki/Twinset) Waistcoat (/wiki/Waistcoat) Trousers (/wiki/Trousers) Bell-bottoms (/wiki/Bell-bottoms) Bondage (/wiki/Bondage_pants) Capri (/wiki/Capri_pants) Cargo (/wiki/Cargo_pants) Chaps (/wiki/Chaps) Formal (/wiki/Formal_trousers) Go-to-hell (/wiki/Go-to-hell_pants) High water 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American actor This biography of a living person (/wiki/Wikipedia:Biographies_of_living_persons) needs additional citations (/wiki/Wikipedia:Citing_sources) for verification (/wiki/Wikipedia:Verifiability) . Please help by adding reliable sources (/wiki/Wikipedia:Reliable_sources) . Contentious material (/wiki/Wikipedia:BLPREMOVE) about living persons that is unsourced or poorly sourced (/wiki/Wikipedia:QUESTIONABLE) must be removed immediately from the article and its talk page, especially if potentially libelous (/wiki/Wikipedia:Libel) . Find sources: "Peter Porte" (https://www.google.com/search?as_eq=wikipedia&q=%22Peter+Porte%22) – news (https://www.google.com/search?tbm=nws&q=%22Peter+Porte%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Peter+Porte%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Peter+Porte%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Peter+Porte%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Peter+Porte%22&acc=on&wc=on) ( June 2016 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Peter Porte Born ( 1984-03-31 ) March 31, 1984 (age 40) Greenwood Lake, New York (/wiki/Greenwood_Lake,_New_York) Alma mater New York University (/wiki/New_York_University) ( BFA (/wiki/Bachelor_of_Fine_Arts) ) Occupation Actor Years active 2005–present Spouse Jacob Jules Villere (m. 2018) Peter Porte (born March 31, 1984) [1] (#cite_note-CBSSID032612-1) is an American actor, known for his role as Ricky Williams (/wiki/Ricky_Williams_(The_Young_and_the_Restless)) on the soap opera The Young and the Restless (/wiki/The_Young_and_the_Restless) , the films It's Not Porn... and Sutures , and the sitcom Baby Daddy (/wiki/Baby_Daddy) playing Brad Walker (/wiki/Baby_Daddy#Recurring_characters) , who is married to Bonnie Wheeler. He also played Josh on the Netflix comedy series Uncoupled (/wiki/Uncoupled) opposite Neil Patrick Harris (/wiki/Neil_Patrick_Harris) . In 2021, he starred as Dimitri Von Leuschner (/wiki/Dimitri_Von_Leuschner) on the limited series Days of Our Lives: Beyond Salem (/wiki/Days_of_Our_Lives:_Beyond_Salem) ; he later reprised his role on Days of Our Lives (/wiki/Days_of_Our_Lives) in 2023. Early life and education [ edit ] Porte grew up in Greenwood Lake, New York (/wiki/Greenwood_Lake,_New_York) , and always wanted to be an actor. [1] (#cite_note-CBSSID032612-1) Porte first got into acting in the third grade when he appeared in a Christopher Columbus (/wiki/Christopher_Columbus) pageant. According to Porte, he only got the role because his mother, who is from Poland (/wiki/Poland) , made his costume out of "traditional Polish garb." Porte continued acting throughout high school and ultimately decided to become a professional actor. [2] (#cite_note-MDT080417-2) Porte graduated from George F. Baker High School (/wiki/George_F._Baker_High_School) in 2002. [3] (#cite_note-3) He earned a BFA in Acting at New York University (/wiki/New_York_University) 's Tisch School of the Arts (/wiki/Tisch_School_of_the_Arts) . Porte then went onto study at the Royal Academy of Dramatic Art (/wiki/Royal_Academy_of_Dramatic_Art) in London. [1] (#cite_note-CBSSID032612-1) [2] (#cite_note-MDT080417-2) Personal life [ edit ] On October 7, 2018, Porte married Jacob Villere in a ceremony held in New Orleans (/wiki/New_Orleans) . [4] (#cite_note-4) Career [ edit ] Though he always considered himself an actor, Porte started his career as a model. He's done shows in Milan (/wiki/Milan) and Paris. [1] (#cite_note-CBSSID032612-1) He toured with the National Company of Mamma Mia! , after which he made the move to Los Angeles. On stage, he performed five seasons with the critically acclaimed For the Record company. Some of his videos are on the website Funny or Die. He's had lead and supporting roles in film and hit network television shows including: Cold Case , CSI: Miami, Medium, The New Normal and Parks and Recreation. In 2011, he joined the cast of The Young and the Restless (/wiki/The_Young_and_the_Restless) as a series regular, playing the role of Ricky Williams. Following his run on the series, he had recurring roles in Devious Maids for the Lifetime Network and in Baby Daddy for FreeForm. He has also had roles in episodes of the NBC comedy Telenovela, CBS Mom and NCIS: LA, and Fox New Girl. Porte starred in the indie thriller The Good Nanny and the made-for-television movie A Cinderella Christmas for ION Television, [5] (#cite_note-5) while recurring on the comedy web series Living with Models, and starring in the world premiere of Eve Ensler's play O.P.C. at the American Repertory Theatre. Porte starred as a surfer in the 2017 Hallmark movie, Love at the Shore . [6] (#cite_note-6) He also starred in the 2018 film, Love, Once and Always and 2019 film Rome in Love for Hallmark (/wiki/Hallmark_Channel) . [7] (#cite_note-7) In 2020, he starred as one of the gay leads in the landmark production Dashing in December (/wiki/Dashing_in_December) , one of the first LGBTQ+ centered Christmas romance movies produced for mainstream television. In 2021, he starred as Dimitri von Leuschner on the limited series Days of Our Lives: Beyond Salem (/wiki/Days_of_Our_Lives:_Beyond_Salem) , he later reprised his role on Days of Our Lives (/wiki/Days_of_Our_Lives) in 2023. Dimitri is revealed to be the son of Megan Hathaway (/wiki/Megan_Hathaway) (Miranda Wilson) and a member of the DiMera family (/wiki/DiMera_family) . In 2022, he played Josh on the hit Netflix comedy series Uncoupled (/wiki/Uncoupled) opposite Neil Patrick Harris (/wiki/Neil_Patrick_Harris) . Filmography [ edit ] Year Title Role Notes 2005 University Place Jeremy Television film 2008 Medium (/wiki/Medium_(TV_series)) Fourth man Episode: "Lady Killer" Viralcom Marcos Episode: "You Got Yourself 30 Seconds" CSI: Miami (/wiki/CSI:_Miami) Brad Garland Episode: "Gone Baby Gone" 2009 Cold Case (/wiki/Cold_Case) Tucker "Duke" Benton (1966) Episode: "The Crossing" Moon Lake Casino Pierre Short film 2011–12 The Young and the Restless (/wiki/The_Young_and_the_Restless) Ricky Williams (/wiki/Ricky_Williams_(The_Young_and_the_Restless)) Series regular; 51 episodes 2012 Parks and Recreation (/wiki/Parks_and_Recreation) Carl Episode: "Ron and Diane" 2013 The New Normal (/wiki/The_New_Normal_(TV_series)) Mr. Rodriguez Episode: "Dog Children" Devious Maids (/wiki/Devious_Maids) Scott 2 episodes NCIS: Los Angeles (/wiki/NCIS:_Los_Angeles) Joseph Episode: "Omni" Mom (/wiki/Mom_(TV_series)) Dr. Huss Episodes: "Cotton Candy and Blended Fish" 2014 Baby Daddy (/wiki/Baby_Daddy) Brad Walker (/wiki/Baby_Daddy#Recurring_characters) Recurring role, 19 episodes Hot Fail Thomas Television film Sutures Drake Short film 2015 Lusa Gad 2 episodes 2016 Last Will and Testicle Fake Testicle 1 Episode Telenovela (/wiki/Telenovela_(TV_series)) Blaze Deluxe Episode: "Split Personalities" Living with Models Dominic 7 episodes Modern Romance Sven 1 episode A Cinderella Christmas Nikolaus Karmichael Television film (ION) 2017 New Girl (/wiki/New_Girl) Jack Episode: "Misery" The Good Nanny Travis Walsh Television film ( Lifetime (/wiki/Lifetime_(TV_network)) ) Love at the Shore Lucas McKinnon Television film (Hallmark) A Gift to Remember Aiden Harris Television film (Hallmark) 2018 Love, Once and Always Duncan Television film (Hallmark) Christmas Harmony Devin Television Film (Lifetime) 2019 Rome in Love Phillip Television film (Hallmark) Cherished Memories: A Gift to Remember 2 Aiden Harris Television film (Hallmark) 2020 Dashing in December (/wiki/Dashing_in_December) Wyatt Television film (MTV) 2021 Days of Our Lives: Beyond Salem (/wiki/Days_of_Our_Lives:_Beyond_Salem) Kyle Graham/Dimitri von Leuschner Limited series 2022 Uncoupled (/wiki/Uncoupled) Josh Gibson Episode: "Chapter 5" 2023 Days of Our Lives (/wiki/Days_of_Our_Lives) Dimitri von Leuschner Series regular [8] (#cite_note-8) 2023 Notes of Autumn Matt Television film (Hallmark) References [ edit ] ^ Jump up to: a b c d McElwain, Julie (March 26, 2012). "Shades of Gray". Feature Interview. CBS Soaps in Depth (/wiki/Soaps_In_Depth#CBS_Soaps_In_Depth) . 16 (13): 34–37. ^ Jump up to: a b Ruth (August 4, 2017). "Interview With Actor Peter Porte, "Love At the Shore" (http://mydevotionalthoughts.net/2017/08/interview-with-actor-peter-porte-love-at-the-shore.html) " (http://mydevotionalthoughts.net/2017/08/interview-with-actor-peter-porte-love-at-the-shore.html) . My Devotional Thoughts . WordPress (/wiki/WordPress) . Retrieved December 2, 2017 . ^ (#cite_ref-3) Lussier, Germain (April 7, 2008). "Peter Porte of Greenwood Lake on 'Medium' tonight with Rosanna Arquette" (http://www.recordonline.com/article/20080407/entertain/80407031) . Times Herald-Record (/wiki/Times_Herald-Record) . Local Media Group (/wiki/Local_Media_Group) . Retrieved December 2, 2017 . ^ (#cite_ref-4) "Peter Porte Gets Married in New Orleans" (http://soaps.sheknows.com/the-young-and-the-restless/news/51399/peter-porte-gets-married-in-new-orleans) . soaps.sheknows.com . October 8, 2018 . Retrieved October 8, 2018 . ^ (#cite_ref-5) "A Cinderella Christmas" (https://www.rottentomatoes.com/m/a_cinderella_christmas) . Rotten Tomatoes . Retrieved November 11, 2018 . ^ (#cite_ref-6) "Hallmark Love at the Shore, star Peter Porte says, 'It definitely doesn't start out so well' (http://www.hollywooddailystar.com/?p=9664) " (http://www.hollywooddailystar.com/?p=9664) . Hollywood Daily Star. August 5, 2017. ^ (#cite_ref-7) Dwilson, Stephanie Dube (July 27, 2019). "Hallmark's 'Rome in Love': Learn Where It Was Filmed, Meet the Cast & See Photos" (https://heavy.com/entertainment/2019/07/hallmark-rome-in-love/) . Heavy.com . Retrieved July 29, 2019 . ^ (#cite_ref-8) SOD (/wiki/Soap_Opera_Digest) (May 15, 2023). "Peter Porte on Joining (https://www.soapoperadigest.com/content/peter-porte-on-joining-days/) DAYS " (https://www.soapoperadigest.com/content/peter-porte-on-joining-days/) . Soap Opera Digest (/wiki/Soap_Opera_Digest) . United States: American Media, Inc. (/wiki/American_Media,_Inc.) Retrieved May 15, 2023 . I thought they were throwing me in for another episode and then they offered the contract and I was shocked. I was shocked, and so excited. I'm very excited for the viewers just to see how many twists the storyline of Dimitri von Leuschner goes through in a very short amount of time. External links [ edit ] Peter Porte (https://www.imdb.com/name/nm2431173/) at IMDb (/wiki/IMDb_(identifier)) This article needs additional or more specific categories (/wiki/Wikipedia:Categorization) . Please help out (https://en.wikipedia.org/w/index.php?title=Peter_Porte&action=edit) by adding categories (/wiki/Wikipedia:FAQ/Categorization#How_do_I_add_an_article_to_a_category?) to it so that it can be listed with similar articles. 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Burmese make-up artist, fashion designer, hair specialist and actress Khin San Win ခင်စန်းဝင်း Khin San Win at the Kyar Kyar Kyite Kyite film press show in January 2020 Born ( 1965-06-08 ) 8 June 1965 (age 59) Yangon (/wiki/Yangon) , Myanmar Nationality Burmese Alma mater University of Yangon (/wiki/University_of_Yangon) Occupation(s) Make-up artist (/wiki/Make-up_artist) , fashion designer (/wiki/Fashion_designer) , actress (/wiki/Actress) Years active 1983–present Khin San Win ( Burmese (/wiki/Burmese_language) : ခင်စန်းဝင်း ; born 8 June 1965) is a Burmese make-up artist (/wiki/Make-up_artist) , fashion designer (/wiki/Fashion_designer) , hair specialist turned actress after three decades-long experience in the Myanmar makeup industry. For decades she was known by the nickname Ma Gyi San while working as a make-up artist in Myanmar, before her acting debut. [1] (#cite_note-Magyi-1) [2] (#cite_note-2) [3] (#cite_note-3) [4] (#cite_note-Khin-4) Khin San Win featured on The Myanmar Times (/wiki/The_Myanmar_Times) "Top 10 Make-up artists" list in 2018. [5] (#cite_note-5) Early life and education [ edit ] Khin San Win was born on 8 June 1965 in Yangon (/wiki/Yangon) , Myanmar (/wiki/Myanmar) , and was raised with three brothers and one sister. She favoured a female identity and was constantly misunderstood, discriminated against, abused and treated with violence, even within the family. She attended high school at Basic Education High School No. 2 Dagon (/wiki/Basic_Education_High_School_No._2_Dagon) and graduated from University of Yangon (/wiki/University_of_Yangon) . [6] (#cite_note-6) Career [ edit ] Make-up artist [ edit ] At the age of 18, she learned from make-up artists Ko Toe and Sandi. When she was aged 21, she opened a hairdressing salon on 34th Street in Yangon. She offered to work for popular movie stars and made a name for herself in the make-up industry. She rose to prominence while working with actresses Htet Htet Moe Oo (/wiki/Htet_Htet_Moe_Oo) , Htoo Mon, Myo Thandar Htun and others, arranging their hair and changing their look. She started a dress service when in 1991. [1] (#cite_note-Magyi-1) She owns a bridal make-up and wedding dress service, teaches make-up classes and enjoys popularity amongst the country's LGBT community (/wiki/LGBT_community) . She then became an actress. [7] (#cite_note-7) [8] (#cite_note-8) [9] (#cite_note-9) Acting career [ edit ] She made her acting debut with a leading role in the film (/wiki/Cinema_of_Myanmar) Ma Gyi San and Her Lovers , alongside Htet Aung Shine and Zwe Pyae (/wiki/Zwe_Pyae) , directed by Myat Khine. The film was released in 2016. [4] (#cite_note-Khin-4) In 2017, she starred in her second film Tanay Mhar Maung Ko De A Kyaung Tway Pyaw Pya Ya Oo Mal , alongside Aye Chan Maung, directed by Naing Myo Tun (Yangon University ). The film was released on 27 February 2018. [10] (#cite_note-10) [11] (#cite_note-11) In 2018, she took on her first big-screen role in comedy film Kyar Kyar Kyite Kyite , where she played the main role with Myint Myat (/wiki/Myint_Myat) , Min Maw Kun (/wiki/Min_Maw_Kun) , Nyi Nyi Maung (/wiki/Nyi_Nyi_Maung) , Linn Linn and Ma Htet. [12] (#cite_note-12) [13] (#cite_note-13) The film was directed by Pyi Hein Thiha which premiered in Myanmar cinemas on 29 August 2019. [14] (#cite_note-14) [15] (#cite_note-15) Her portrayal of the LGBT character earned praised by fans for her acting performance and character interpretation, and experienced a resurgence of popularity. LGBT support [ edit ] Khin San Win is a supporter of the LGBT rights in Myanmar (/wiki/LGBT_rights_in_Myanmar) , she actively participated in many LGBT rights campaigns in Yangon. She is lobbying for the abolishing of Article 377 of Myanmar's Penal Code. [16] (#cite_note-16) Filmography [ edit ] Film (Cinema) [ edit ] Kyar Kyar Kyite Kyite (ကျားကျားကြိုက်ကြိုက်) (2019) Film [ edit ] Ma Gyi San and Her Lovers ( မကြီးစန်းနှင့် သူ၏ချစ်သူများ ) (2016) Tanay Mhar Maung Ko De A Kyaung Tway Pyaw Pya Ya Oo Mal ( တစ်နေ့မှမောင့်ကို ဒီအကြောင်းတွေပြောပြရဦးမယ် ) (2018) References [ edit ] ^ Jump up to: a b Nandar Aung (22 July 2018). "From behind the scenes to the big screen" (https://web.archive.org/web/20190922121140/https://www.mmtimes.com/lifestyle/21516-from-behind-the-scenes-to-the-big-screen.html) . The Myanmar Times (/wiki/The_Myanmar_Times) . Archived from the original (https://www.mmtimes.com/lifestyle/21516-from-behind-the-scenes-to-the-big-screen.html) on 22 September 2019 . Retrieved 27 August 2018 . ^ (#cite_ref-2) Pann Myat Zaw (2 November 2015). "မကြီးစန်းတို့လို အချစ်မျိုးကို လူတွေက အသိအမှတ် မပြုကြဘူး ဆိုတဲ့ မိတ်ကပ် ခင်စန်းဝင်း ဘယ်လို အောင်မြင်လာသလဲ" (http://www.mizzimaburmese.com/article/6852) (in Burmese). Mizzima (/wiki/Mizzima) . ^ (#cite_ref-3) "ဒီဇိုင်နာ ပြည်စိုးအောင်နှင့် မိတ်ကပ်၊ ဆံပင်၊ ဒီဇိုင်နာ ခင်စန်းဝင်း တို့ ပူးပေါင်းပြီး Fashion Show ပွဲ ပြုလုပ်မည်" (http://www.mizzimaburmese.com/article/9177) (in Burmese). Mizzima (/wiki/Mizzima) . 30 December 2015. ^ Jump up to: a b "Well-known MakeUp Artist, Khin San Win Star In Movie" (http://www.myanmarceleb.com/2016/07/well-known-makeup-artist-khin-san-win.html?m=1) . Myanmar Celebrity. 10 July 2016. ^ (#cite_ref-5) "ရန်ကုန်မြို့ရဲ့နာမည်အကျော်ဆုံး အလှဖန်တီးရှင်၁ဝ ဦး" (https://web.archive.org/web/20200204101341/https://myanmar.mmtimes.com/news/117815.html) . The Myanmar Times (/wiki/The_Myanmar_Times) (in Burmese). 21 November 2018. Archived from the original (https://myanmar.mmtimes.com/news/117815.html) on 4 February 2020 . Retrieved 23 March 2020 . ^ (#cite_ref-6) Chit Poe (9 June 2018). " (https://burma.irrawaddy.com/lifestyle/entertainment/2018/06/09/160710.html) "မွေးနေ့ရောက်တိုင်း သွေးလှူတာ ဒီနှစ်ဆို ၁၂ ကြိမ်တိုင်ပြီ" ဆိုတဲ့ မိတ်ကပ် ခင်စန်းဝင်း" (https://burma.irrawaddy.com/lifestyle/entertainment/2018/06/09/160710.html) (in Burmese). The Irrawaddy (/wiki/The_Irrawaddy) . ^ (#cite_ref-7) "ချစ်သူက မင်းသားတစ်ယောက်ပါလို့ ဝင်ခံလိုက်တဲ့ မိတ်ကပ်ခင်စန်းဝင်း" (https://web.archive.org/web/20190209203506/http://www.popularmyanmar.com/2017/07/03/%E1%80%81%E1%80%BA%E1%80%85%E1%80%B9%E1%80%9E%E1%80%B0%E1%80%80-%E1%80%99%E1%80%84%E1%80%B9%E1%80%B8%E1%80%9E%E1%80%AC%E1%80%B8-%E1%80%90%E1%80%85%E1%80%B9%E1%80%B1%E1%80%9A%E1%80%AC%E1%80%80%E1%80%B9/) (in Burmese). Popular News Journal (/wiki/Popular_News_Journal) . Archived from the original (http://www.popularmyanmar.com/2017/07/03/%E1%80%81%E1%80%BA%E1%80%85%E1%80%B9%E1%80%9E%E1%80%B0%E1%80%80-%E1%80%99%E1%80%84%E1%80%B9%E1%80%B8%E1%80%9E%E1%80%AC%E1%80%B8-%E1%80%90%E1%80%85%E1%80%B9%E1%80%B1%E1%80%9A%E1%80%AC%E1%80%80%E1%80%B9/) on 9 February 2019 . Retrieved 27 August 2018 . ^ (#cite_ref-8) Zwe Nyan (15 October 2016). "လကုန်ကြည့်ရတော့မယ့် မကြီးစန်းနှင့် သူ၏ချစ်သူများ" (https://web.archive.org/web/20180829035036/http://www.7daydaily.com/story/78157) (in Burmese). 7Day News (/wiki/7Day_News) . Archived from the original (http://www.7daydaily.com/story/78157) on 29 August 2018 . Retrieved 28 August 2018 . ^ (#cite_ref-9) Wai Wai Hnin (29 October 2016). "မကြီးစန်းနှင့် သူ၏ချစ်သူများက တကယ့်အချစ်ဇာတ်လမ်း မဟုတ်ဘူးလို့ မိတ်ကပ်ခင်စန်းဝင်း ပြော" (http://www.mizzimaburmese.com/article/19662) (in Burmese). Mizzima (/wiki/Mizzima) . ^ (#cite_ref-10) Yu Phyu Han (26 February 2018). "မကြီးစန်းရဲ့ "တစ်နေ့မှ မောင့်ကို ဒီအကြောင်းတွေ ပြောပြရဦးမယ်" (https://burma.irrawaddy.com/lifestyle/entertainment/2018/02/26/152974.html) " (https://burma.irrawaddy.com/lifestyle/entertainment/2018/02/26/152974.html) (in Burmese). The Irrawaddy (/wiki/The_Irrawaddy) . ^ (#cite_ref-11) "ဒုတိယဇာတ်ကားမှာလည်း ခေါင်းဆောင်မင်းသမီးအဖြစ် သရုပ်ဆောင်မယ့် ခင်စန်းဝင်း" (https://www.sundaymyanmar.com/ဒုတိယဇာတ္ကားမွာလည္း-ေခါ/) (in Burmese). Sunday Journal. 16 August 2017. [ permanent dead link ] ^ (#cite_ref-12) "မိတ်ကပ်ဖန်တီးရှင်များကို ပွဲထုတ်ရိုက်ကူးမယ့် "ကျားကျားကြောက်ကြောက်" ရုပ်ရှင်ဇာတ်ကားကြီး" (https://burma.irrawaddy.com/lifestyle/entertainment/2019/01/09/179577.html) . The Irrawaddy (/wiki/The_Irrawaddy) (in Burmese). 9 January 2019. ^ (#cite_ref-13) Mahn Thu (26 June 2018). "မိခင်တယောက်အနေနဲ့ သရုပ်ဆောင်ဦးမယ့် မိတ်ကပ် ခင်စန်းဝင်း" (https://burma.irrawaddy.com/lifestyle/entertainment/2018/06/26/162097.html) (in Burmese). The Irrawaddy (/wiki/The_Irrawaddy) . ^ (#cite_ref-14) "Red Carpet Show" (https://www.pressreader.com/myanmar/mizzima-business-weekly/20190829/281556587550542) . Mizzima (/wiki/Mizzima) . 29 August 2019 – via PressReader (/wiki/PressReader) . ^ (#cite_ref-15) "Kyar Kyar Kyite Kyite" (https://www.myanmore.com/2019/08/kyar-kyar-kyite-kyite/) . Myanmore Magazine (/wiki/Myanmore_Magazine) . 28 August 2019. ^ (#cite_ref-16) "ခင်စန်းဝင်း ဦးစီးပြီး အလှအပဆိုင်ရာ ပညာရပ်များ ဝေမျှပွဲပြုလုပ်" (http://www.myanmarcelebrity.com/2018/03/blog-post_65.html?m=1) (in Burmese). Myanmar Celebrity. 21 March 2018. External links [ edit ] Khin San Win (https://www.facebook.com/KhinSanWin.mm) on Facebook (/wiki/Facebook_(identifier)) NewPP limit report Parsed by mw‐web.eqiad.main‐67876cfcf7‐hz4z9 Cached time: 20240711112440 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.580 seconds Real time usage: 1.142 seconds Preprocessor visited node count: 2646/1000000 Post‐expand include size: 54951/2097152 bytes Template argument size: 3517/2097152 bytes Highest expansion depth: 17/100 Expensive parser function count: 3/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 68670/5000000 bytes Lua time usage: 0.379/10.000 seconds Lua memory usage: 13936215/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 886.975 1 -total 40.41% 358.453 1 Template:Infobox_person 34.62% 307.081 1 Template:Reflist 19.95% 176.938 1 Template:Cite_web 17.12% 151.818 3 Template:My 16.96% 150.472 1 Template:Short_description 16.88% 149.712 3 Template:Lang 11.24% 99.682 4 Template:Br_separated_entries 11.16% 98.964 21 Template:Main_other 10.31% 91.412 1 Template:Birth_date_and_age Saved in parser cache with key enwiki:pcache:idhash:58293000-0!canonical and timestamp 20240711112440 and revision id 1215189692. Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Khin_San_Win&oldid=1215189692 (https://en.wikipedia.org/w/index.php?title=Khin_San_Win&oldid=1215189692) " Categories (/wiki/Help:Category) : 1965 births (/wiki/Category:1965_births) Living people (/wiki/Category:Living_people) Artists from Yangon (/wiki/Category:Artists_from_Yangon) Burmese make-up artists (/wiki/Category:Burmese_make-up_artists) Burmese transgender actresses (/wiki/Category:Burmese_transgender_actresses) Transgender women artists (/wiki/Category:Transgender_women_artists) Burmese LGBT artists (/wiki/Category:Burmese_LGBT_artists) Burmese LGBT rights activists (/wiki/Category:Burmese_LGBT_rights_activists) University of Yangon alumni (/wiki/Category:University_of_Yangon_alumni) 20th-century Burmese LGBT people (/wiki/Category:20th-century_Burmese_LGBT_people) 21st-century Burmese LGBT people (/wiki/Category:21st-century_Burmese_LGBT_people) Burmese women artists (/wiki/Category:Burmese_women_artists) Hidden categories: CS1 Burmese-language sources (my) (/wiki/Category:CS1_Burmese-language_sources_(my)) All articles with dead external links (/wiki/Category:All_articles_with_dead_external_links) Articles with dead external links from October 2022 (/wiki/Category:Articles_with_dead_external_links_from_October_2022) Articles with permanently dead external links (/wiki/Category:Articles_with_permanently_dead_external_links) Articles with short description (/wiki/Category:Articles_with_short_description) Short description matches Wikidata (/wiki/Category:Short_description_matches_Wikidata) Use dmy dates from January 2019 (/wiki/Category:Use_dmy_dates_from_January_2019) Articles containing Burmese-language text (/wiki/Category:Articles_containing_Burmese-language_text) Articles with hCards (/wiki/Category:Articles_with_hCards) Facebook ID not in Wikidata (/wiki/Category:Facebook_ID_not_in_Wikidata)

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