Punk Couples

Punk's Marriage

Malcolm Mclaren & Vivienne Westwood

Chocar Mentalidades - Músicos: Part I

David Bowie nos anos 70

Quando David Bowie começou a apostar neste look andrógino, imensas pessoas lhe perguntavam na rua: Do you want me to take your purse?

The New York Dolls

One of the first rock bands to come out of New York City since Andy Warhol unveiled the Velvet Underground in the mid-1960s. Left to right are: Arthur Kane, Jerry Nolan, David Johansen, Sylvain Sylvain, and Johnny Thunders.

Boy George

Brian Molko from Placebo

Robert Smith from The Cure

Corpetes - Part I

Etymology

The word corset is derived from the Old French word cors, the diminutive of body, which itself derives from corpus - the Latin for body.

Fashion

The most common and well-known use of corsets is to slim the body and make it conform to a fashionable silhouette. For women this most frequently emphasizes a curvy figure, by reducing the waist, and thereby exaggerating the bust and hips (see photo). However, in some periods, corsets have been worn to achieve a tubular straight-up-and-down shape, which involves minimizing the bust and hips.

For men, corsets are more customarily used to slim the figure. However, there was a period from around 1820 to 1835 when an hourglass figure (a small, nipped-in look to the waist) was also desirable for men; this was sometimes achieved by wearing a corset.

An overbust corset encloses the torso, extending from just under the arms to the hips. An underbust corset begins just under the breasts and extends down to the hips. Some corsets extend over the hips and, in very rare instances, reach the knees (example). A shorter kind of corset, which covers the waist area (from low on the ribs to just above the hips), is called a 'waist cincher'. A corset may also include garters to hold up stockings (alternatively a separate garter belt may be worn for that).

Normally a corset supports the visible dress, and spreads the pressure from large dresses, such as the crinoline and bustle. Sometimes a corset cover is used to protect outer clothes from the corset and to smooth the lines of the corset.

Fetish

Aside from fashion and medical uses, corsets are also used in sexual fetishism, most notably in BDSM activities. In BDSM, a submissive can be forced to wear a corset which would be laced very tight and give some degree of restriction to the wearer. A dominant can also wear a corset, but for entirely different reasons such as aesthetics.


Aconselha-se a leitura de: History of Corsets
Mini History of The Corset
The Corset: A Cultural History

Fonte: Wikipedia
Photo

Photographers in the Fashion World

"Le Violon d'Ingres", 1924
© Man Ray

Edward Steichen's photograph in Vogue's 15 October, 1939

Vogue cover by Irving Penn

© Helmut Newton

Alguns dos fotógrafos que subverteram as tendências e os critérios estéticos da sua época.

Women in Metal - Part I

Sabina Classen

Angela Gossow

Val Glauser

Rachel Van Mastright

A Alice da Moda é uma Tatcher em Ácidos

As the dramatic doyenne of the fashion world, Vivienne Westwood is England's true queen mother. A mixture of elegance, audacity, humour, and Margaret Thatcher on acid, she shocks, rocks, and continues in her sixties to seduce the fashion world.

Fiercely anti-establishment, anti-hippy, and brilliantly creative, Westwood is truly the first punk rocker. Together with her partner, Malcolm McLaren, Westwood helped to invent the look, ideals, spirit, and icons of punk culture. From her shop on King's Street in London, she transformed angry, disenfranchised youths like Johnny Rotten into generational voices. The Sex Pistols owed much of their image to McLaren and Westwood. Her confrontational designs were informed by a fascination with punk, bondage, and fetishism. Using rubber, zippers, studs, buckles, leather, and other unconventional materials, Westwood's designs promoted an aggressive sexuality.

In the 1980s, Westwood broke off her relationship with McLaren and continued to evolve. Just as her "Bondage" collection had influenced punk culture and created the look for bands such as the Sex Pistols and the Clash, her new lines, "Pirate" and "New Romantics" influenced a new generation of performers from Bow Wow Wow to Adam Ant. Though mainstream designers scoffed at her work or rejected her ideas outright, her concepts soon found their way -- in watered-down form, of course -- into the mainstream.

In 1984, when shoulder-padded women's power suits began to appear in stores, Westwood's clothing became oddly reminiscent of the 1950s. Her models displayed perfectly rounded hourglass figures and flaunted crinolines. In defiance of the contemporary fashion, Westwood created designs that emphasized a provocative, girlish beauty mixed with a bit of naughtiness. Westwood experimented with a range of possibilities, from Victorian ball gowns to Scottish kilts. Over the years, her models morphed from pirates to peasants.

Her clothes hold a certain intellectual and historical fascination, encompassing the rural landscapes of seventeenth-century France, the rolling hills of northern Scotland, the hard-blowing winds of far-off pirate ships, or the grossly luxurious ornaments reminiscent of Marie-Antoinette's Trianon. The textiles, cuts, and clothes recall the past and transcend the present.

Vivienne Westwood is the Alice in Wonderland of the fashion world and her habits are as fantastical as any dream sequence could be.

Even the fearsome John Fairchild, legendary editor of Women's Wear Daily and undisputed dictator of the fashion industry, hails Westwood as "a designer's designer." She is considered one of the most important fashion figures of the twentieth century along with Armani, Lagerfeld, Saint Laurent, and Ungaro.

Source

The fashionable woman wears clothes. The clothes don't wear her.

"The fashionable woman wears clothes. The clothes don't wear her." - Mary Quant

Mary Quant foi uma importante estilista da década de 60, responsável pela criação da mini-saia.

Na juventude, Mary Quant criava suas roupas, mas, aos poucos, decidiu vender as peças também, mas achava a moda "terrivelmente feia". Anos depois, com o marido, abriu a loja Bazaar, na famosa King’s Road, em Londres.

Criou um diminuto pedaço de pano que mudou o guarda-roupa feminino: a mini-saia. As saias de 30cm de comprimento eram usadas com camisetas justas e botas altas. Em poucos anos, Mary Quant abriu 150 filiais na Inglaterra, 320 nos EUA e milhares de pontos de venda no mundo todo. A butique Bazaar se tornou o símbolo de vanguarda dos anos 60 e 70.

Em 1966, a rainha Elizabeth II a condecorou com a Ordem do Império Britânico, prêmio que ela recebeu vestindo mais uma de suas criações. Em 1994, aos 60 anos, Mary Quant lançou uma coleção de acessórios e de cosméticos. “É para que ninguém me esqueça”, disse a estilista, ainda adepta de mini-saias.

Fonte: Wikipédia
Photo: Hulton-Deutsch Collection/Corbis

Marlene Dietrich

Marlene Dietrich foi a primeira mulher a usar calças publicamente nos anos 20. Como devem imaginar choveram críticas. E agora? Qual é a mulher que não usa calças na nossa sociedade?

Excentricidade, dizem...

Model: Jeffree Star

Model: Steevie Synthetic

excentricidade

s. f.,

qualidade do que é excêntrico;

afastamento, desvio do centro;

- da elipse: relação entre a semidistância focal e o semi-eixo maior;

- da hipérbole: relação entre a semidistância focal e o semi-eixo transverso.

Rock Style - Man

Photo: Ellenoir

O Futuro do Passado

Photo: Jean-Sébastien Monzani

I took a trip on a train
And I thought about you
I passed a shadowy lane
And I thought about you

Two or three cars arked under the stars
A winding stream
Moon shining down on some little town
And with each beam, the same old dream

And every stop that we made,
oh, I thought about you
When I pulled down the shade
then I really felt blue
I peeked through the crack, looked at the track
The one going back to you
And what did I do? I thought about you

Fashion and the 'Cult of Celebrity'

Fame is not a new phenomenon. Characters of renown were admired in Ancient Greek and early Christian cultures. Military, political and romantic heroes were worshipped similarly in the eighteenth and nineteenth centuries. Tales of their achievements formed the basis of the pedestal on which they were raised. However, the 'Graphic Revolution' of the twentieth century heralded profound changes in the nature of stardom. Developments in photographic and cinematic technologies allowed images to be mechanically reproduced for mass dispersal in the media. The celebrity now became 'someone who is well-known for his well-knownness', a name renowned more for charismatic beauty than for heroic achievement. In this 'Cult of Celebrity', superficial images began to replace ideals of virtue in a growing passion for celebrity itself.

It is unsurprising therefore to find the 'Cult of Celebrity' implicated in aspects of fashion in contemporary culture. Since the glamour of Hollywood celebrities in the 1920s and 30s, images of the female body in the media have become increasingly distanced from the bodies of real women. However, these representations of hyper-reality are compelling ideas of perfection. They convey the promise that such beauty is not only attainable for the minority but possible for the majority 'if only we knew how they did it'. Interest in celebrity lifestyles therefore extends to the make-up and clothes they wear, the hair products they use and the perfumes they favour. Consequently, the development of such celebrity styles can be related to the marketing and consumption of star-endorsed beauty products. The 'Cult of Celebrity' encourages the female body to be viewed as a commodity in the construction of beauty, power and desire.

Why do these images of celebrities hold such power over us? As the feminist philosopher Susan Bordo writes, 'we all know that Cher and virtually every other female star over the age of twenty-five is the plastic product of numerous cosmetic surgeries on face and body.' Daniel Boorstin, a social critic writing in 1961, similarly identified false appearances in contemporary culture. He argued that celebrities are counterfeit people whose identities are staged and scripted to create an illusion of reality. And yet, studies show that the sale of diet foods in America rose by 10 per cent per annum between 1960 and 1980 and that 37 million women worldwide attend classes run by Weightwatchers. In other words, we aspire to resemble images of celebrities despite awareness of their unreality.

The sociologist Jean Baudrillard suggests that the 'Cult of Celebrity' is part of a larger trend towards living in the 'ecstasy of communication'. We are bombarded by a succession of surface images in the media that do not connect with reality. As a result, the distinction between what is real and what is imaginary disintegrates.

Fonte: Fashion and the 'Cult of Celebrity', consultado a 25 de Setembro de 2007

Rockabillies

Rockabillies remember an era of music, fashion

Marcella Ortega

Do you ever feel like you were born in the wrong era?

In the midst of all the emotional and bohemian hipsters struggling for individuality, rockabillies have found a simple style that sets them apart and takes them to a different time, a more simple time - the '50s.

The first time I encountered them as a group was amazing. I was in Downtown Albuquerque and came across a late-night car show. This was not the typical New Mexican lowrider car show. This parking lot was packed with cars from the 1950s. Rockabilly music blared in the background as the guys revved their engines in competition. The ladies sat by their side or on the hood of the cars. But the most interesting part of it all was their fashion.

Rockabillies, greasers or whatever you want to call them live as if they were in the 1950s. Chances are you have already seen them around town. The guys - always clad in the basics - wear classic 501 Levis with the legs cuffed, T-shirts with the sleeves either cuffed or just cut off, and perhaps the most important accessory of all - grease. Whether they have a pompadour or just a ducktail, their hair is slick and shiny. Throw in a wallet chain or leather jacket, and these guys look tough as nails.

The most notorious hairstyle for the girls is no other than the black-banged Betty Page hairstyle. Their clothing ranges from pure black get-ups with Capri pants and high heels, to full-out rockabilly-style dresses.

Rachel Herrera, aka Ms. Rachel, is a Downtown rockabilly regular and has been a part of the local rockabilly scene for five years. Herrera said she and her friends get their clothes from thrift stores or rockabilly boutiques.

"There are places that specialize in it," she said. "We like to get our orders online or just make our own stuff."

Herrera said her fashion is a product of an entire culture lived out by the rockabillies.

"We all live the culture and lifestyle," she said. "For us as a group, it's the fashion and the music. It's not the state of mind, but living the classic '50s lifestyle."

The lifestyle she is referring to includes car shows, races and weekly Downtown rockabilly-roundup concerts.

"For me, it's the music, definitely the music," she said.

Rockabilly originated in the South. It is a combination of hillbilly boogie, blues, bluegrass and country music. The era of rockabilly music ended with the death of Buddy Holly in 1959 but was revived in the '80s with a group called the Stray Cats.

Herrera said although the culture was from another era, it has survived throughout the generations.

"There was always a few of us," she said, "and we always found each other."

ORTEGA, Marcella, in Rockabillies remember an era of music, fashion, consultado a 25 de Setembro de 2007

Photo by Laura Byrnes
Featured Pin Up Girl: Badass Babe Masuimi Max

Kate Moss Hologram - Alexander McQueen Fashion Show

Moda é a Comunicação do Século XXI

Flávia Vasconcelos de Mendonça flavimoda@dominiofeminino.com.br 01, Junho/2002

Centro da cidade, horário de almoço. A multidão trafega em avalanche. O sinal vermelho para os carros. Um pastor em seu terno barato anuncia a salvação. Panfleteiros atrapalham o caminho e contribuem com o monte de papéis inúteis no chão. Promoções fluorescentes de comida á quilo captam o olhar. Mendigos estendem as mãos. Garçons servem ocupados executivos ao celular. Um palhaço diverte os passantes...

O parágrafo acima ilustra diversas situações de comunicação que, nós produzimos e respondemos diariamente. Uma infinidade de sons, objetos e visões sem os quais a nossa existência seria impossível. A condição humana depende deste contato, contágio. Sendo impossível o sustento de qualquer cultura sem que haja a transmissão de alguma forma daquilo que se passa dentro de nós. Uma sociedade não se concretiza sem que os indivíduos se comuniquem através de quaisquer dos cinco sentidos que conhecemos cientificamente. O ser humano, simplesmente, não existe sozinho.

"Consideramos pois, a condição humana. Veremos que inclui: um equilíbrio biológico fundamental; um conjunto de relações dinâmicas entre os homens e seu meio material – relações estas que se manifestam mediante o desenvolvimento de técnicas; um conjunto de relações dos homens entre si, que caracteriza ao mesmo tempo a estática e a dinâmica da existência social; finalmente, um conjunto de formas de expressão de que se serve o homem, ao mesmo tempo, para tratar de dizer o que é e que faz, ou pelo menos, o que crê ser e fazer, e ipso facto, para ordenar, obrigar e, finalmente, compelir os outros e a si próprio.:" ( Cohen-Seat, Gilbert e Fougeyrollas, Pierre – "Introduction", in L’action sur l’homme: cinemá et television, Paris)

Dentro desta necessidade de comunicação está a Moda. "Com a moda começa o poder social dos signos ínfimos, o espantoso dispositivo de distinção social conferido ao porte das novidades sutis" ( Gilles Lipovetsky, O Império do Efêmero). A moda impera em todos os meios de comunicação da sociedade moderna. A partir do momento estamos fazendo uso de certa indumentária, adquirindo hábitos e nos transformando de diversas formas para se ajustar a realidade, estamos também produzindo e respondendo aos estímulos que nos rodeiam, estamos nos comunicando fazendo uso da moda.

Note que este fenômeno é exclusivo da civilização ocidental, pois é nesta que a Moda surge como sistema, onde as metamorfoses incessantes das formas e ornamentações transformam-se em valor mundano e a inconstância da indumentária passa a caminhar de forma oposta à lógica da tradição se fazendo regra permanente desde o final da Idade Média até os tempos de hoje. Com a moda, aparece uma primeira manifestação social que encarna um novo tempo legítimo e uma nova paixão própria ao Ocidente, a do "moderno".

Além disso, através da moda os seres passam a observar-se , avaliando as diferenças de corte, de cores, de motivos de indumentária e apreciam as aparências recíprocas. A moda liga-se ao prazer de ver e de ser visto, favorece o olhar crítico e estimula observações sobre a elegância dos outros, sendo assim, um completo investigamento de si.

Nesta análise a moda é vista, não apenas como meio de comunicação ativado no vestir, é importante deixar claro que a moda abrange em velocidades diversas outros campos como a arquitetura, a linguagem, as maneiras, os gostos e idéias e obras culturais. Com isso quero reconhecer o posto da informação visual no surgimento de um futuro radicalmente novo.

A afirmação do título "Moda é a Comunicação século XXI" se baseia nos dias de hoje, onde grande parte da informações que recebemos através dos grandes meios ( TV, rádio, jornais , revistas e Internet ) nos oferecem um universo da novidade, do lazer, do esquecimento e do sonho. A mídia tem o dever de informar, é claro, mas através do prazer, na renovação, no entretenimento. Todas as transmissões com vocação cultural ou informativa devem adotam a perspectiva do lazer, só assim conseguem "abocanhar" um público mais numeroso. Para isso a ordem da sedução é prioritária, e é neste momento que a moda simplesmente se encaixa. No universo da mídia que constantemente é submetido aos recursos publicitários, é a forma Moda que organiza a produção e a difusão dos programas, que regula a forma, a natureza e os horários das transmissões. A Comunicação de hoje depende da moda para seguir seu rumo e a explosão numérica do audio-visual apenas aumenta tal competição que cada vez mais irá se firmar sobre o princípio da sedução. Além disso, é sobre os numéricos novos programas que será preciso exibir outros encantos, imaginar novas apresentações e novas fórmulas de prender a atenção. Mais do que nunca a pequena diferença, lei da moda, fará a sedução.

"Da mesma forma que a moda do século XVIII se pôs a brincar com grandes e pequenas coisas da história, a divertir-se em fitas e penteados com o sistema de Law, com as revoltas populares, com a derrota do Sena, hoje a informação não cessa em adota um estilo descontraído e lúdico em relação aos fatos do dia, o código humorístico fez passar o registro da informação para a lógica desenvolta e fantasiosa da moda". ( Gilles Lipovetsky, O Império do Efêmero)

MENDONÇA, Flávia Vasconcelos, in Domínio Feminino - consultado em 25 de Setembro 2007

Photo: Andrew Farrington