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We looked inside some of the posts by evesfmp and here's what we found interesting.
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In 2020, 27% of US Tumblr users had an annual household income of over $100,000.
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DIVERSITY RESEARCH: THE FUTURE OF DIVERSITY IN FASHION
https://www.voguebusiness.com/fashion/the-future-of-diversity-and-inclusion-in-fashion
BIBLIOGRAPHY:
Milnes, H. (2020). The future of diversity and inclusion in fashion. [online] Vogue Business. Available at: https://www.voguebusiness.com/fashion/the-future-of-diversity-and-inclusion-in-fashion.
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DIVERSITY RESEARCH
https://www.theatlantic.com/health/archive/2020/07/fashions-racism-and-classism-are-going-out-style/613906/
BIBLIOGRAPHY:
Reference list
Mull, A. (2020). Fashion’s Racism and Classism Are Finally Out of Style. [online] The Atlantic. Available at: https://www.theatlantic.com/health/archive/2020/07/fashions-racism-and-classism-are-going-out-style/613906/.
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DIVERSITY RESEARCH: DISABILITY IN FASHION
https://www.vogue.co.uk/fashion/article/madison-lawson-disability-representation
Above I have linked a Vogue article looking at the importance of disability representation in fashion. I found this very interesting, as I agree that disability is rarely shown in fashion, which is something that definitely needs to improve.
BIBLIOGRAPHY:
Lawson, M. (2021). Disability Representation Is Crucial to Building More Inclusive Fashion Industry. [online] British Vogue. Available at: https://www.vogue.co.uk/fashion/article/madison-lawson-disability-representation.
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DIVERSITY RESEARCH: GENDER FLUIDITY IN FASHION
https://www.vogue.co.uk/article/the-meaning-of-gender-fluid-fashion
BIBLIOGRAPHY:
Sanders, W. (2019). There’s More At Stake With Fashion’s Gender-Fluid Movement Than You Realise. [online] British Vogue. Available at: https://www.vogue.co.uk/article/the-meaning-of-gender-fluid-fashion.
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“I don't define men's fashion or women's fashion. I only identify those who are afraid and those who enjoy fashion. ”
- Jaden Smith
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DIVERSITY RESEARCH: GENDER
This is a mood board I created around the area of gender diversity. I found this area really interesting to look into, as I looking at the ways different people and celebrities expressed their gender and identity through fashion and styling was really cool. I feel this is due to the long history of stereotypes attached to gender and identity, which are now begin to be defied in society.
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‘When the fun goes out of dressing, you might as well be dead.’
- Iris Apfel
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DIVERSITY RESEARCH: IRIS APFEL
RESEARCH INTO AGE
Iris Apfel is an American businesswoman, interior design and fashion icon who was born in 1921, making her 101 years old. In a society that seems to deem ageing as a taboo and negative subject, Iris Apfel defies all negativity and stereotypes connected to the process of ageing and becoming older, as she embracing her age and her unique style to inspire all generations.
Apfel’s unique style began to develop at the age of 12, when Apfel would travel into Manhattan on train to shop at local antique stores, and grow her vast jewellery collection. In the late 40’s, Iris Apfel met her husband Carl, and the two went on to found a textile company named Old World Weavers, which specialised in recreating vintage textiles. The company was a success, and the two even signed a contract with the White House, going on to work for nine different presidents. Apfel and her husband be would travel the world, searching for unique textiles, clothes and home furnishings (for Apfel’s side careers as an interior decorator).
Apfel’s fabulous and iconic style often consists of round glasses paired with excessive costume jewellery and printed garments, and have made her an instantly recognisable and iconic figure in the fashion world.
BIBLIOGRAPHY:
L’Officiel USA. (n.d.). Who is Iris Apfel? Get to Know the Vibrant Fashion Icon Who Turns 100 Today -Jewelry Style. [online] Available at: https://www.lofficielusa.com/pop-culture/who-is-iris-apfel-fashion-icon-jewelry.
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DIVERSITY RESEARCH: AGE MOOD BOARD
This is a mood board I created based around the area of age, using images I found on Pinterest. I found it interesting to look into the area of age, particularly in fashion, as i feel it is an area that is often disregarded or not taken seriously within fashion, particularly older people in society.
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DEVELOPING MY THEME
After discussing my work and project so far with my tutor, she has suggested that I develop my work by researching diversity and incorporating this into my collection concept and work. I agree that this is a good idea as I like the idea of promoting my brand and designs to a wider audience, and making them inclusive for everyone. To do this, I will be looking into age, gender, disability and race through creating a mood-board for each area, and also conducting some research into each area. I won’t be going into as detailed research, as obviously diversity is not my main theme, however I do plan to research each area just to give me some more knowledge while designing my collection and creating my brand.
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RESEARCH: BEAUTY MARKS
Beauty patches reached the height of their popularity during the 17th century, however their popularity continued into the 18th century. They were available in numerous sizes and shapes, and used to heighten the contrast with white skin and also hide imperfections on the face and neck. They were often worn in a variety of positions, all with different supposed meanings.
BIBLIOGRAPHY:
Demodecouture.com. (2009). Women’s Hairstyles & Cosmetics of the 18th Century: France & England, 1750-1790 – Démodé. [online] Available at: http://demodecouture.com/hairstyles-cosmetics-18th-century/.
Google Arts & Culture. (n.d.). Powder and Patches. [online] Available at: https://artsandculture.google.com/story/powder-and-patches-the-george-r-gardiner-museum-of-ceramic-art/qwXhDuGvgnd7Iw?hl=en#:~:text=Patches
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RESEARCH: BEAUTY IN THE 18TH CENTURY
Much like fashion and hair trends, styles of makeup and beauty also gained popularity during the 18th century. The later end of the 18th century is an era widely associated with hair and makeup, as these became great symbols of wealth and aristocracy during the French Revolution.
BEAUTY STANDARD
The ideal women of the 18th century had long, wavy or curly hair which was either black, brown or blonde (particularly popular during Marie Antoinette’s reign). Her cheeks were plumped, rosy and blushed, contrasting her fair skin. Finally, her lips were to be small, soft and red.
COSMETICS
In the beginning of the 17th century and containing through to the 18th century, both men and women in France wore obvious cosmetics. Makeup was not intended to be natural, often called ‘paint’, and was rather used to demonstrate a persons wealth and aristocratic identity. All cosmetics had practical aims, and were used to create what was considered an attractive face at the time, hiding the effects of age, blemishes and disease.
Key aspects of the 18th century cosmetic look consisted of fair skin, which was achieved by the application of shiny white face paint across the entire face and shoulders. Popular white face paints that were used were often made of lead, and excessive use resulted in many deaths through lead poising. Women and men showed their class and wealth through the whiteness of their skin, as heavy makeup was considered more respectably then naturally light skin. Veins would even be traced using a blue pencil, to highlight the whiteness of the skin. After this, red rouge would be added to the cheeks to create a large circular shape (particularly popular in French court wear).
BIBLIOGRAPHY:
Demodecouture.com. (2009). Women’s Hairstyles & Cosmetics of the 18th Century: France & England, 1750-1790 – Démodé. [online] Available at: http://demodecouture.com/hairstyles-cosmetics-18th-century/.
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