#Paris fashion week 2001

[newestcool]

Raf Simons f/w 2001 rtw Creative Director Raf Simons Newest Cool on Instagram

[callmeonmyrazr]

paris hilton getting ready backstage during new york fashion week on february 16, 2001 ✨

[raunchily]

Jean Paul Gaultier Ready to Wear Spring/Summer 2001 fashion show for Paris Fashion Week, 2000

Photographed by Victor Virgile

[mcblingbrat]

Thierry Mugler Fall/Winter 2001 Fashion Show Hair

[fuckyeslilkim]

lil' kim dons a versace logo wig whilst getting ready for versace haute couture show during paris fashion week (2001)

[popculturelib]

It's Barbie Week at the Browne Popular Culture Library!

Although Barbie is widely known as a children's toy, there is a sizeable collector's market for Barbie dolls, and we have quite a few comprehensive books about Barbie, her friends, and accessories. They're quite helpful for people who want to learn about the history of specific dolls, design changes, and pricing.

We also have several catalogs directed at serious Barbie collectors looking for exclusive dolls and items. These are often higher quality than Barbie dolls meant to be played with -- some are made of porcelain instead of plastic. Many collector edition Barbies are tie-ins with other media or reproductions of vintage dolls. Below is one of our catalogs from 2003:

Here's a page from the catalog, chosen because the person who runs this account played with a Rapunzel Barbie when she was younger (though a way less fancy version):

A different catalog shows off more collector's edition dolls, such as a Bob Mackie Circus Barbie, complete with a swing (left) and a pair of dolls commemorating the marriage of Prince William and Kate Middleton (right):

For more information about these items, check out our catalog listings below the read more.

The Browne Popular Culture Library (BPCL), founded in 1969, is the most comprehensive archive of its kind in the United States.  Our focus and mission is to acquire and preserve research materials on American Popular Culture (post 1876) for curricular and research use. Visit our website at https://www.bgsu.edu/library/pcl.html.

Books:

The Wonder of Barbie: Dolls & Accessories, 1976-1986 (1987) by Paris & Susan Manos

The World of Barbie Dolls (1983) by Paris & Susan Manos

The Barbie Doll Years: A Comprehensive Listing & Value Guide of Dolls & Accessories (2001) by Patrick C. Olds and Joyce L. Olds

The Collectors Encyclopedia of Barbie Dolls and Collectibles (1985) by Sibyl DeWein and Joan Ashabraner

Barbie Doll & Her Mod, Mod, Mod, Mod World of Fashion, 1967-1972: Price Guide (1996) by Joe Blitman

Barbie Fashion (1990) by Sarah Sink Eames

Barbie Exclusives: Identification & Values (1995) by Margo Rana

Catalogs:

Barbie Collectibles by Mail, Spring 2003

Barbie Collector, Holiday 2010 and Spring 2012

[monsieurcouture]

Jean Charles de Castelbajac S/S 2001 Paris Fashion Week

[bleachedvi0let]

Devon Aoki for Celine, Paris Fashion Week Fall 2001. 🖤

[fashionbooksmilano]

Love Brings Love

A Homage to Alber Elbaz

AZ Factory

Rizzoli, New York 2022, 192 pages, 21.11 x 29.41 cm,   ISBN  9780847872794

euro 59,00

email if you want to buy booksinprogressmilano@yahoo.it

A touching volume that celebrates the life and work of beloved fashion designer Alber Elbaz. On April 24, 2021, the designer Alber Elbaz passed away due to complications from COVID-19. The creative director of Lanvin from 2001 to 2015, he was the most consequential figure from the fashion community lost to the pandemic. Love Brings Love, the celebration of Elbaz's life and work that concluded Paris Fashion Week on October 5, remains a unique event in the recent history of the industry. In tribute, forty-four designers, from nearly all the French and Italian maisons, as well as his dear friends in Japan and the United States, created dresses for a memorial fashion show--the first collaborative one to have ever been held in Paris. Of the more than seventy looks, thirty were by Elbaz, posthumously executed by his team at AZ Factory.The international fashion community came as one family to publicly mourn and remember one of their own, with a reverence and affection reserved only for someone so universally and genuinely loved.This book is divided into three parts, which include texts written by Elbaz prior to his passing, a sequence of sketches by forty-four designers and maisons, including #AlexanderMcQueen, #Balenciaga, #CommedesGarçons, #GiambattistaValli, #Gucci, #JeanPaulGaultier, #RickOwens, and #Valentino, on uncoated stock, and a section of photographs of completed dresses, including dresses designed by Elbaz, on matte coated stock. The sequence describes in ways both conceptual and material how his friends and peers saw him, and how they intimately honored his memory with their own work and in their own words.

orders to:     booksinprogressmilano@yahoo.it

twitter:                @fashionbooksmi

flickr:                  fashionbooksmilano

instagram:          fashionbooksmilano

tumblr:                fashionbooksmilano

10/02/23

[migatito]

devon aoki for celine at paris fashion week fall 2001♡

[newestcool]

Alek Wek for Paco Rabanne f/w 2001 rtw  Newest Cool on Instagram

[sashaspasiba]

Imitation of Christ: A Retrospective

September 17, 2002Maurice Villency Flagship Store, 200 East 57th Street

The Museum of Modern Art, Tirana, Albania, and Deitch Projects presented a retrospective exhibition celebrating Imitation of Christ. The exhibition documented the work of Imitation of Christ from its inception in 2000 and featured live sculpture, video documentation of past projects, and an installation of major works on loan from private collections.

The Imitation of Christ creative collective were social engineers, a collaboration that encompassed fashion design, art and film. Imitation of Christ was directed by art school dropout Tara Subkoff, who fell into film and now works in the space between art and fashion.

Imitation of Christ transformed undesirables into desirables again.

In May 2000, Imitation of Christ staged their first show in a metro station in Los Angeles.

In September 2000, Imitation of Christ staged their first New York show. Shocking the fashion industry, the show was presented in an East Village funeral parlor seating only 60 people.

In February 2001, Tara Subkoff and the Imitation of Christ creative collective integrated their political perspective into their fashion week presentation. They produced a film staring Reese Witherspoon, Jason Schwartzman, Elodie Bochez, Selma Blair, and Lisa Marie illustrating the indulgence of our modern society juxtaposed with the exploitation of sweatshops and child labor. The project raised funds for Sweat Shop Watch and Free the Children.

In June 2001, Imitation of Christ created a human hamster wheel for the Carlton Art Festival in Sao Paulo, Brazil.

In September 2001, Imitation of Christ created a role reversal. In a ground floor space in Chelsea Market, the models were seated with pen and paper in hand, waiting to critique the guests who were escorted down the runway by the MC of the evening, Tracy Ullman. This time the spotlight was on the press.

In February 2002, the Imitation of Christ collective continued to push the traditional barriers in fashion by staging a mock auction at the venerable Sotheby's auction house. The models were presented immobile on a rotating platform as the Sotheby's auctioneer called out the bids.

In July 2002 in Paris, Imitation of Christ crashed the Christian Dior couture show. Three ambulances filled with models wearing Imitation of Christ designs sped through three security checkpoints. At the entrance to the show, the models jumped onto the roofs of the ambulances and unfurled an Imitation of Christ banner. The fashion press recorded the models being hauled off by Dior security.

The Imitation of Christ collection, all one-of-a-kind creations, was available at Barney's and Kirna Zabete, New York; Pearl, Santa Monica; Andrea Balinski, Sao Paulo; Colette, Paris; Bus Stop, Tokyo; and Joyce and IT, Hong Kong.

[raunchily]

Jean Paul Gaultier Ready to Wear Spring/Summer 2001 fashion show for Paris Fashion Week, 2000

Photographed by Victor Virgile

[woofieprint-clothing]

This must be Nicola Peltz's best mother-in-law cosplay to date!

Putting aside speculation about the previous mother-in-law conflict, Victoria Beckham and Nicola Peltz's relationship seems to have improved significantly. In addition to diligently appearing in Victoria Beckham's fashion shows, the billionaire also has many moves to support her mother-in-law. For example, the "cosplay" of Mrs. Becks herself when posing in Paris recently.

Notably, this is the same shirt Victoria Beckham wore in 2001, when he and Brooklyn (then 2 years old) came to the stadium to support David Beckham. She also paired the item with jeans and high heels

Wearing the same item, mixing with 1 recipe and walking with Brooklyn Beckham, the clash between Victoria Beckham and Nicola Peltz suddenly attracted attention from the world media. Becks herself excitedly shared the moment on Instagram. Harper's Bazaar also said that this is the daughter-in-law's way of warming up the atmosphere because in just a few days, Victoria Beckham's show, part of Paris Fashion Week will officially take place

Previously, Nicola Peltz also had many times (not determined to be accidental or intentional) to clash styles with Victoria Beckham. However, there has never been a time when she has made such a positive effect, even supported by her mother-in-law as this time

[disarmarchive]

Behind Raf Simons’ “Riot Riot Riot”

Raf Simons is a recognisable name to anybody interested in the fashion space, and an undoubtedly polarising figure in the industry. A visionary Belgian fashion designer who has made a significant impact on the fashion industry, Simons is known for his minimalist designs and avant-garde approach to fashion. Since his debut in the mid 1990s, Simons has pushed boundaries and redefined what it means to be a designer. His unique aesthetic and outstanding ability to seamlessly blend high fashion with streetwear has earned him a dedicated, cult-like following and numerous accolades.

One of Raf Simons' most recognisable collections, “Riot Riot Riot”, was first displayed during Paris Fashion Week for Fall/Winter 2001. Simons drew inspiration from the vigour and rebelliousness of the punk movement for the collection, which was a reaction to the social upheaval and political turbulence of the moment. The collection's harsh, monochrome colour scheme, vivid geometric patterns, and oversized shapes pushed conventional notions of form and proportion. Models stormed down the runway in a flurry of movement and emotion during the runway presentation, which was a spectacle in and of itself. “Riot Riot Riot” is evidence of Simons' aptitude at using clothing as a vehicle for cultural expression and a window into his environment.

The symbolism in Raf Simons' “Riot Riot Riot” collection is multifaceted and deeply rooted in cultural and political contexts. The use of oversized silhouettes and graphic prints represents the rebellious spirit of the punk movement, while the stark black and white colour palette signifies a rejection of traditional fashion norms. The collection's title itself, "Riot Riot Riot," is a nod to the political unrest of the time and an acknowledgement of the power of youth-led movements. The collection's use of graphic prints and bold text further emphasised its message of rebellion, with slogans like "riot," "power," and "control" emblazoned across t-shirts and jackets. In this way, “Riot Riot Riot" served as a visual manifesto, using fashion as a means of communication and a platform for social commentary. By incorporating these powerful symbols into his collection, Raf Simons was able to tap into the zeitgeist of the time and make a statement about the world he was living in.

“Riot Riot Riot” was heavily influenced by Eastern Europe, with many of the collection's motifs and designs drawing inspiration from the region's rich history and cultural traditions. The collection featured a number of garments that were reminiscent of traditional Eastern European dress, along with long coats with oversized lapels, assorted military surplus, and a general oversized look. The looks also had many layers, which could be seen all throughout Eastern Europe, due to the extremely cold climate of the area. The collection's use of bold graphic prints and stark monochromatic colour scheme also reflected the visual language of the region, with its history of propaganda and political upheaval. Simons' use of these Eastern European influences served to emphasise the collection's message of rebellion and political resistance.

The use of patches played an important role in conveying the collection's message of rebellion and social unrest. Patches have long been associated with counterculture and the punk movement, making them the perfect symbol for a collection that sought to challenge traditional ideas of fashion and society. The patches used in "Riot Riot Riot" were intentionally placed in strategic locations, such as on the elbows of jackets and the knees of pants, to suggest that these garments had been worn in the heat of protest and physical confrontation.

Many of the patches featured on the garments were references to artists who put themselves in harm's way, or sacrificed their physical and mental health for the sake of their art. This is often viewed as a reference to Simons’ own life, as he had just taken a hiatus before designing and releasing this collection, largely due to the lack of success and sales from his previous work. His mental health was deteriorating, and the references on these patches were symbolising Simons’ beliefs about sacrifice for one’s art. Releasing an extremely abnormal and never seen before collection of garments in this state of mind could be viewed as a huge mistake on Simons’ part, and temporarily, this seemed to be true. The collection was not hugely popular, and many of the items were struggling to be sold. However as time passed, the public began to view the collection for what it was, an amazing creative feat, with deep rooting meaning and social commentary.

One patch that reoccurs throughout this collection is an infamous image of Richey Edwards, the lead guitarist of the Manic Street Preachers, a Welsh punk band most prominent in the early 90s. Upon receiving criticism about the authenticity of the band, with many journalists stating that they were not truly punk, Edwards would use a razor to carve ‘4REAL’ into his forearm. The patch depicts Edwards bleeding from the arm, with fresh razor wounds, and can be seen on many garments in the collection. The Manic Street Preachers are the topic of many other patches in this collection, and this is the most clear example that Simons’ uses, of an artist putting their art (in this case their authenticity) before their own health.

Another patch that continues this theme of harm for art, is an image of Monte Cazazza, an artist known for pioneering the genre named ‘industrial music’, and even played a large role in coining the term. Other than this however, Cazazza normally participated in performance art, much of which was on the extreme side. During his performances he would pull guns, dump cement onto people, perform stunts involving dead cats, and methods of self-harm were also a prominent part of his performances. The patch in question depicts Cazazza profusely bleeding on his chest, and seemingly ‘grasping’ at the camera.

The connection between these two patches is clear, and this can be seen throughout many others displayed in the collection. The symbolism and connection that Simons’ is drawing through his use of these patches is obvious, which is the relationship between an artist's physical and mental health, and their works. These references show artists who put their art before their health, harming themselves for the sake of the art (and occasionally the harming is the art itself). It could be argued that Simons’ uses these references to show his support, however I believe he is simply making a social commentary and comparing his own experiences as a creative, rather than offering up an opinion.

While it is difficult to know the exact state of Raf Simons' mental health during "Riot Riot Riot," it is clear that the collection was deeply personal and reflective of his own struggles with anxiety and depression. In interviews, Simons has spoken candidly about the toll that the fashion industry can take on one's mental health, and it is likely that the pressures of his work contributed to his emotional state during this time. The collection itself was a risky form of catharsis, allowing Simons to express his own feelings of anger, frustration, and rebellion through his designs. Today, Simons continues to be an advocate for mental health awareness in the fashion industry and beyond, using his platform to raise awareness and break down the stigma surrounding mental health issues.

Why did this collection originally go over terribly, and why was Simons’ largely misunderstood as a designer? As with anything new or unseen, many people can take their time in adjusting, as their preconceived notions of a ‘good’ item of clothing or collection of garments is set in stone. The juxtaposition of “Riot Riot Riot” against the fashion space at the time was clearer than ever, and his adventurous attempt to be himself did not go over well with the public. Even Raf Simons cult following had to adjust to this new look he debuted, as his previous works had been much more slim and tailored, with much less layering. Even though it would be expected that the reception to this collection would damage Simons’ mental health even further, he actually came out of it much better off. As previously mentioned, Simons’ was using this collection as a form of catharsis and rebellion, and the positive effects that this had on him were apparent. Simons’ would continue this oversized, avant-garde look throughout his career, all while incorporating some of his earlier, tailored look.

Raf Simons is a revolutionary fashion designer who has left an indelible mark on the industry. His "Riot Riot Riot" collection, which was heavily influenced by Eastern European culture and the punk movement, is a powerful example of how fashion can be used to convey a message of social commentary and rebellion. Through the use of oversized silhouettes, graphic prints, and strategically selected patches, Simons was able to tap into the zeitgeist of the time and make a statement about the world he was living in. Despite initially receiving a lukewarm reception, the collection has since been recognised as a creative masterpiece, with deep-rooted meaning and significance. Overall, Simons' work is a testament to the transformative power of fashion and its ability to challenge traditional ideas and push the boundaries of art.

[mediaonedesign]

Miami Dolphins Zach Attack Thomas Shirt

Top Miami Dolphins Zach Attack Thomas Shirt

#Teechallaclothing LLC Kendall Jenner takes naked dressing into brave new territory with her latest outfit. The supermodel wore a David Koma dress, pulled from the Miami Dolphins Zach Attack Thomas Shirt and by the same token and British designer’s fall 2023 collection, that features illusion mesh on its upper half and playful red flowers smack dab in a prime (and oft controversial) anatomical position. While the pasties were certainly eye catching, the most unexpected part of the outfit was the long modish scarf around Jenner’s neck. And víola! The peak 2023 “naked dressing” trend meets Audrey Hepburn circa 1961. The mish mash of aesthetics makes perfect sense for Jenner, who often alternates seamlessly between understated minimalism and bold of the moment dressing. The star, like numerous other celebrities, has been on a bit of exhibitionist streak as of late. For her Met Gala after party look, Jenner donned a sheer dress and exposed underwear worn over the ensemble. With her latest nude but not look, the star harnesses the power of illusion. At first glance, it seems as if she is wearing a corset or Skims esque bodysuit with pasties. But her look is actually a shoulderless dress, with masterfully cut mesh.

#Teechallaclothing LLC That the Miami Dolphins Zach Attack Thomas Shirt and by the same token and dress comes with a bit of Audrey Hepburn flavor should come as no surprise to true Jenner fans. The model has repeatedly referenced the late icon through her fashion, strolling around Paris in a little black dress, head scarf, and big sunglasses in March. And for her 2021 Met Gala look, crafted by Matthew M. Williams at Givenchy, the star paid homage to Hepburn’s star turn role in My Fair Lady. In many ways, Jenner’s approach to style is much like her David Koma dress. There’s a lot more to it than what immediately hits the eye. Shop more naked dresses, below. This week in fashion, standout IG posters illustrated the power of anything goes fashion. A tuxedo paired with gold grills? In the world of designer Riccardo Tisci, this coupling masterfully marries rough and tumble with formality. Model Kyle Gayle, a.k.a. @reallydoedusty, made a long sleeved latex top, a Goofy tee, a propeller hat, and a furry bag look like the perfect dinner outfit. While Laverne Cox, who recently celebrated her 51st birthday, wore a 2001 John Galliano era Dior with 1985 Manfred Thierry Muglery, showing that a fabulous vintage get up does not have to be constrained to a singular decade. There were also unapologetically high glam moments. Notably, Bones and All star Taylor Russell delivered bonafide razzle dazzle in a Jonathan Anderson at Loewe design. The glittering look matched the rising star’s undisputable shine.

Buy this shirt:  Click Here to buy this Miami Dolphins Zach Attack Thomas Shirt

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