Kim Jenkins has not only worked exceptionally hard to build an exemplary career as a scholar and public intellectual, but she has so much to share about the deeper sources of her drive to contribute to the public discourse on fashion and culture.
Don't forget! Interesting stuff happening on a specific date on the calendar below this is just filler text to get the idea across.
Kim Jenkins has not only worked exceptionally hard to build an exemplary career as a scholar and public intellectual, but she has so much to share about the deeper sources of her drive to contribute to the public discourse on fashion and culture.
The overlooking of Carter’s contributions to the industry, alongside the cultural impact of the work she’s done over the span of three decades is a prime example of how the Academy has been reluctant to examine or acknowledge black art.
Realizing the diversity of women's body types, I wanted to research a different type of women to design for. I fell in love with the women's swim team at Columbia University, I interviewed them, followed them around with a camera, and I soon realized how beautiful it was to look at from a fashion perspective. With the Columbia swim team, I came to envision a way to do something different.
Zandra Rhodes began her professional career in the 1960s, designing textiles for Heal’s (famous 200-year-old furnishing store in London). However, her proudest achievement to date is designing for opera—something very few fashion designers accomplish. Why is that? What is so appealing about designing for opera? What is challenging about it?
As you walk around the space, you’re surrounded by a constellation of work, from photographed portraits to what Fabiola is most well-known for: elaborate paper dresses. Easily mistaken for fabric garments, it’s the uncanniness of Fabiola’s paper dresses that attests to her appreciation for fashion history.
Otherworldly, futuristic, ancestrally familiar, avant-garde. It’s hard to find words that fully grasp the experience that is JEEPNEYS, a name once used for multidisciplinary artist Anna Luisa Petrisko and more recently to include research-based collaborative works.
As part of an effort to contextualize and conceptualize the field that is Fashion Studies, we will be interviewing notable figures in the discipline and sharing their insights in an ongoing series. Our first subject is Dr. Eugenia Paulicelli, the founder and director of the Fashion Studies program at The Graduate Center at The City University of New York.
We are eighteen years into the new millennium, yet, as Eva Hagberg Fisher discovered, “the patriarchy is still too strong.”